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NelsonG

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  1. Our weekly playlist highlights songs that our writers, editors, and contributors are listening to on repeatView the full article
  2. Early December the English Premier League announced a new broadcasting rights deal worth a staggering £6.7 billion (US$8.5 billion). Running for four seasons from the 2025-26 campaign, the deal will see broadcasters Sky and TNT take the live games and the BBC continue with its popular highlights package. Amazon, which has been licensing Premier League games since 2019, hoping to drive customers towards its Prime service, wasn’t awarded a single match. In parallel, UK tabloid Daily Mail has taken a sudden and unusual interest in Amazon Firestick devices during the last two weeks. Published every few days with a similar theme, the goal appears one of piracy deterrence. Unfortunately, regularly associating a legitimate brand with negative imagery is unlikely to have much effect on the pirate market and won’t boost sales of legitimate products either. Since piracy rarely responds to negativity but loses market share as legal offers become more attractive, the Premier League’s decision to allow transmission of 270 fixtures in the new package instead of the current 200, is a step in the right direction. Still no matches available during the ‘3pm blackout’ or adjustments to pricing in the consumer direction, but the BBC now has a license to show highlights for all 380 matches. Other ‘broadcasters’ will show all 380 matches in full, with no license at all. All Matches, No Licenses: Premier League Targets Pirate Sites Sky’s deal with the Premier League means the broadcaster now pays £5.95 million per match. Pirate streaming sites, meanwhile, pay the Premier League absolutely nothing and since that has a devaluing effect on the matches already sold, enforcement is the inevitable outcome. In a letter dated December 14, 2023, Texas law firm Hagan Noll & Boyle informed Cloudflare that users of its “system or network” are infringing the Premier League’s copyrighted works, through dozens of websites, using an even greater number of domain names. Where relevant, the list also includes ‘backend URLs’ from where actual streams may (or may not) be served. A small sample of the pirate domains The list includes the popular crackstreams.me, which according to SimilarWeb data enjoyed 8.6 million visitors in the three-month period of September, October and November 2023. In common with many other domains in the list, a second domain is listed alongside crackstreams.me, indicating that visitors are redirected after visiting the initial domain. For crackstreams.me, the secondary ‘redirect’ domain is ronaldo7.io, which had around 750,000 visits during the same three-month period. While that’s significantly lower than crackstreams.me, visitors from the UK account for 75% of ronaldo7.io’s traffic, versus 25% for its redirection ‘partner’. Screenshots similar to those shown below form part of the evidence presented to Cloudflare, 103 pages in total. crackstreams.me (left), ronaldo7.io (right) Judging by the volume of gambling advertising on some domains, coupled with signs that sites are targeting countries including Thailand and China, the Premier League clearly has challenges ahead. Some may even be solvable in the United States, if it gets lucky with Cloudflare. Notification Under 17 U.S.C. § 512 There are two reasons for sending a notification to Cloudflare under 17 U.S.C. § 512. As a first step, the Premier League would like Cloudflare to take the infringing content down. “Cloudflare is asked to remove or disable access to Premier League’s copyrighted works, which, based on the infringement that has occurred to date through the websites and domain names identified above, will continue to be infringed in this same manner throughout the Premier League season,” the letter reads. Whether Cloudflare can or will comply in some or all cases is unclear. However, until Cloudflare is sent a compliant DMCA takedown notice, Premier League can’t follow up with the next step. DMCA Subpoena Application Filed at U.S. Court Through the same Texas law firm, on December 14 the Premier League filed an application for a DMCA subpoena. This allows a copyright owner (or a person authorized to act on their behalf) to request a clerk of any United States district court to issue a subpoena to a service provider (in this case Cloudflare) for the purpose of identifying an alleged infringer. The notification sent to Cloudflare identifying the alleged infringers and locations of the infringing content, a proposed subpoena, and a sworn declaration that the subpoena will only be used to protect Premier League’s rights, is usually enough for the clerk to sign off on a request. Kids’ presents and turkey or gambling with strangers? When that happens, Cloudflare will be required to hand over the following information for the domains listed below, and/or the ‘backend URLs’ listed in the notification to Cloudflare (not listed below). Information sufficient to identify the alleged infringers of the matches described in the attached notification, which would include the individuals’ names, physical addresses, IP addresses, telephone numbers, email addresses, payment information, account updates, and account history. The deadline in the proposed subpoena is December 29, 2023 The list of domains and redirection domains reads as follows: 88zhibo.me 222live.net 720pstream.me 720pstream.nu 7mscorethai.live bestsolaris.com bgibola5.xyz bgibola77.live cakhia51.tv cakhia22.live crackstreams.me ronaldo7.io dooball168-hd.com dooball2you.com dooballx.com duball356.com futebolplayhd.com futemax.app futemax.la livenettvapk.live/android/ livehd7.cc as.livehd72.live mmfootballgroup.com mmfootball.cryptken.com multicanais.fans pawastreams.top pawastreams.info rakhoi4.tv rapidstreamz.tv rojadirectaenvivo.club rojadirectaenvivo.nl soccerlive.app nbastreamlinks.net soccerstreamlinks.com soccertv4k.com socolive.news socolive.fan sportsurge.club streamonsport.ru strims.top tvmob.net tvron.net tvtap-pro.net vertvenvivo.net weakstream.org weakspell.org xn--l3clbuukk5c4d8a3e5d.com crichdplayer.xyz crichd.com hd.cricfree.io From: TF, for the latest news on copyright battles, piracy and more. View the full article
  3. Website blocking is the entertainment industry’s preferred anti-piracy strategy in dozens of countries. Targeting domain names of pirate sites can be an effective way to deter casual pirates. When a site can no longer be easily located, some users may give up, especially since Google now deindexes blocked domains as well. Popular pirate sites have been familiar with these measures for years now. While some simply ignore the issue, hoping that users will find a way around it, others are actively pushing back. Spanish torrent site DonTorrent falls in the latter category. With millions of monthly visitors, DonTorrent is a force to be reckoned with. The site is particularly popular in Spain and offers links to a curated selection of torrents. Following complaints from rightsholders, the torrent site is blocked by Spanish Internet providers. While this is a nuisance for the site’s operator and users, it hasn’t exactly decimated DonTorrent’s traffic or tempered its attitude. Traffic Unchanged Instead of laying low, DonTorrent typically chooses a more offensive route. The site’s operators are openly playing with the likeness of Jan van Voorn, the head of the influential anti-piracy alliance ACE, for example. In addition, the site does all it can to fight back against the blocking efforts. DonTorrent shared several unblocking tips with its users, and also added a .onion domain to make the site accessible on the Tor network. A DonTorrent spokesperson informs us that these efforts paid off as traffic remains stable. There are seasonal variations, but those are not blocking-related. If anything, the torrent site sees traffic boosts when streaming services raise their prices. We can’t independently verify these traffic trends but it’s clear that the site still has a sizable community. The official Telegram channel currently has nearly 80,000 users, who are regularly updated about domain name changes. Domain Name Whack-a-Mole The communication channel is much needed as the torrent site doesn’t exactly have a stable home. Spanish ISPs are regularly instructed to block new DonTorrent domains, which has already happened 39 times this year. Every time a new domain is blocked, DonTorrent quickly registers and launches an alternative, so its users can get around these measures for a while. “We don’t have any domain names parked and ready to use, what we do is register it that same day when we see the block,” DonTorrent informs us, explaining that this is a conscious strategy. “In the past, we did reserve some domain names and pointed these to our Cloudflare account, but we discovered that [Jan van Voorn] or one of his henchmen were checking the new ‘dontorrent’ TLD registrations.” Whether ACE was checking the domains or another rightsholder representative isn’t clear, but someone was keeping a close eye on the backup domains. They were blocked before becoming active, rendering preparations futile. The last domain name change took place earlier this week, typically at a rate of one domain per week. In some cases, there’s a slightly longer delay, which often coincides with public holidays. Scammers Galore Besides ISP blockades, the torrent site also has trouble with some anti-virus companies that block its new domains, seemingly without reason. “The funny thing is that they apologize when we complain about these false positives, but they can’t explain what happened. They remove the blocks, but only if we notify them,” DonTorrent says. It’s possible that a sudden surge in traffic for newly registered domains may set off some algorithmic alarm bells. Ironically, however, copycat pirate sites that scam people by requesting their credit card details, can often operate freely. These scam websites typically use the brands of popular pirate sites to exploit the fact that these sites are regularly blocked or shut down. The more effective anti-piracy efforts are, the bigger this problem gets. DonTorrent says it wouldn’t be surprised if anti-piracy forces were behind these dodgy schemes. While there is no evidence for that at all, rightsholders certainly use the phenomenon in their messaging. In recent months, various anti-piracy campaigns and lobbying efforts have highlighted the potential for scams and credit card fraud. These campaigns effectively bring things full circle. Scammers or not, DonTorrent doesn’t seem intent on stopping anytime soon. The site’s deviant actions have turned it into a big anti-piracy trophy, but one that seems out of reach, at least for the time being. From: TF, for the latest news on copyright battles, piracy and more. View the full article
  4. Having networked computers at home used to be called…well, having networked computers at home. As a description, it’s both accurate and boring, something that cannot be said about having a ‘homelab’. “A home lab, or simply lab,’ is a personal space where technology enthusiasts, professionals, and hobbyists can experiment with various hardware and software. From virtual machines to your own server, a home lab offers endless possibilities,” says Brandon Lee of VirtualizationHowto, one of many sites publishing tutorials aimed at the surging homelab scene. David Burgess runs the DB Tech channel on YouTube, where he publishes tutorials on technologies relevant to homelabs and self-hosting in general, such as Docker, Portainer, Proxmox, and Pi-Hole, to name just a few. The almost universal common denominator among channels like David’s is the absence of piracy, because you can’t pirate software that developers happily give away for free. To that background, a new video published on the channel was immediately puzzling. Years-Old Videos Considered Non-Compliant This week David received a notification from YouTube; unusual considering he’d turned off notifications two years ago when the frequency became overwhelming. Still, the communication from YouTube was important, since it referred to a community guideline strike on one of his videos. Given that David has had a community strike on his account since March 29, 2021, he initially thought the message was about that. It wasn’t. The background to the first strike is almost ancient history. On March 20, 2020, David uploaded a video about a Docker container for youtube-dl, software that allows people to download videos from YouTube and other platforms. Notably, the upload preceded the RIAA’s failed efforts to have youtube-dl removed from GitHub by six months. While youtube-dl remains on GitHub today for anyone to download, on March 29, 2021, a year after its initial upload, YouTube notified David that his docker/youtube-dl video had been removed for violating YouTube’s Terms of Service. David filed appeals with YouTube, noting that he hadn’t promoted the tool for infringing purposes, but was ultimately informed that it would not be restored. No specific reasons were given but YouTube’s terms of service state that downloading from the platform is not allowed. Even if YouTube had other issues in mind, the TOS violation can’t be avoided, despite David’s record of good conduct. Disappointed to Receive a Strike After speaking with David and reviewing his videos, it’s clear that YouTube and similar platforms aren’t focused on people like him when making the rules. He presents himself well, refrains from mindless hype, and produces clear educational videos that add value to the YouTube platform. The community strike is an obvious disappointment to him, beyond just getting a strike. Since countless other videos remained up when his had been taken down, including many that blatantly promoted youtube-dl for infringing purposes, David still feels the deletion was somewhat unfair. As always, the context of the video is important, so while mindful of YouTube’s rule against downloading, we watched the whole thing in search of anything egregious. No Obvious Crimes, Anti-Malware, Pro-Irony What we found was a tutorial video in which David went out of his way to insist on careful use; certainly not by pirates downloading the latest music videos or people pilfering content for their own channels. The video also devotes time to alternative tools that promise to download videos from YouTube, with the primary aim of giving users malware instead. As David explains, for YouTube creators who need to show a clip of another video within theirs for context, using youtube-dl is a safer option. Even at this point, with context shining in David’s favor, downloading videos that aren’t already configured for download still isn’t allowed by YouTube. The RIAA firmly believes that using youtube-dl to obtain YouTube videos amounts to a violation of the DMCA, which disallows the circumvention of digital locks, including YouTube’s rolling cipher. Under YouTube’s current terms of service, content that “shows viewers how to get unauthorized access to content, software, or services that usually require payment” is disallowed under to the ‘Digital security content’ section. That doesn’t seem to apply to YouTube directly in this case. Anti-circumvention and the prevention of unauthorized access are the key principles overall. This makes the content that David downloaded from YouTube, as a demonstration in his now-removed video, much more than just a little ironic. That brings us back to the community guidelines strike issued this week. Arr..Arr..Arr..Agggh On February 5, 2021, David uploaded several tutorial videos on how to create the ultimate home media server using Emby, Sonarr, Radarr and Jackett. One of those videos explained how to configure these pieces of software, especially how to get the Docker containers to communicate with each other; it was a technical tutorial about networking, nothing beyond that. This week David discovered that specific video (but none of the others) had been removed for breaching YouTube’s terms of service. Once again, dozens of similar tutorials that go much further remain live on YouTube, for no immediately obvious reason. David’s video was uploaded over three years ago and had accrued 114,000 views, a figure that will never go up and never again earn him revenue on YouTube. Some channels specialize in this kind of content for obvious reasons, yet somehow remain live. David says that causes confusion when trying to assess YouTube’s interpretation of the rules, and how other videos posted to his channel may be affected. New Rules Present New Concerns Over the years, YouTube’s approach to content has certainly become more restrictive. It’s generally not excessive but, as new rules are implemented, the chances of older content made under different rulesets falling foul only look set to increase. David believes that creators will have to adhere to today’s rules and then consider how future rules may step in to render previously acceptable content a TOS violation down the line. “Now I have to put myself into a very conservative mindset about what might be misconstrued by the wrong content mod as a violation and take corrective action in the future because, again, who knows when something like this will happen again?” he says. Guidelines, Rules, Laws As societies react to new technologies, the shifting sands of social norms, and the effect of government efforts to legislate, regulate, or even frustrate online behavior, large online platforms like YouTube are being forced to change. New rules governing conduct are inevitable and can often provide clues on how a company hopes to be perceived among licensing partners and advertisers. As we recently suggested, personal moderation at scale is already an impossibility and with new rules come new problems. David doesn’t have any plans to abandon YouTube but seems less inclined to rely on it exclusively moving forward. He’s hoping to continue building an audience on Patreon where $1 per month gets things started, and also on Rumble, according to a new post on X, where a lack of coherence on rules in general makes the place almost insufferable. On the flip side, too many new rules have a tendency to breed even more rules of increasing complexity; read by the few and fully understood by almost nobody. Reports this week published by Ars Technica and Techcrunch detailed new content policy at Twitch, implemented to make old policies on nudity less confusing. The end result could give Monty Python’s Meaning of Life a run for its money. From: TF, for the latest news on copyright battles, piracy and more. View the full article
  5. Artificial intelligence has the potential to make our lives more efficient, entertaining, and productive. On the flip side, it also presents several threats. This ranges from complex existential worries to concerns about AI-related copyright infringement, which is already widespread. Tthese copyright concerns will be discussed next month at a meeting of WIPO’s Advisory Committee on Enforcement, where several stakeholders will present their thoughts. This includes Universal Music Group (UMG), which sees both the good and bad aspects of this rapidly developing technology. UMG’s Vice President of Global Content Protection, Graeme Grant, lays out the music company’s perspective in a detailed contribution sent to WIPO in advance. According to Grant, UMG broadly embraces AI technology and has already obtained several patents in this area. Among other things, the company uses AI to fuel the creative process, optimize production, and as a marketing tool. At the same time, it also presents new challenges. “While AI holds great potential for innovation and expansion, generative AI also poses great risks – not only to creators but to broader society, as well,” Grant notes. AI Generated Tracks are Booming AI is increasingly used to copy music and generate tracks based on the likeness of popular artists, such as Drake vs The Weeknd’s ‘Heart on my Sleeve‘. These tracks are created using models trained on copyrighted music, which can be a problem if these datasets and models are shared. “[O]ne online community has created a spreadsheet containing over 100 pre-trained vocal models, relating to specific artists, that have been uploaded to services like Megaupload and Google Drive and can be downloaded and used by anyone of their 15,000 members,” Grant writes. While UMG might not get too upset when people experiment purely for personal use, the company believes that a line is crossed when AI-synthesized tracks are made available to the public, especially when that includes a commercial element. In the past few months, the number of AI-generated tracks uploaded to online music platforms such as Spotify increased by 175%, UMG found, and this trend could very well continue in the future. In some cases, people use artist-inspired names such as “Juice AI” and “Drake AI” to share the tracks on legitimate music services. These uploads generate royalties for every play, which don’t go to the original artist and label. These fake ‘pre-release’ sales have been going on for a while. Vice previously highlighted a scammer who reportedly made thousands of dollars by selling AI-generated Frank Ocean tracks. But that’s just the tip of the iceberg. Fraudsters Scam Pirates UMG is protecting its bottom line with these comments, but the company notes that prospective pirates can be harmed as well. There’s a lively market for leaked pre-release music and scammers are exploiting the demand to generate profit. Through the use of AI technology, the scammers create musical snippets that impersonate popular artists. These are then sold through pre-release forums as the real deal, supported by claims that the tracks were obtained through hacking or phishing. Some people apparently fall for this scam, paying thousands of dollars to get their hands on fresh tracks, not knowing that they’re actually faked. “Believing these tracks to be authentic, users often engage in ‘group buys’, pooling their resources to meet the fraudster’s inflated asking price, which can range from USD5,000 to 30,000. “The users are often unaware that the track in question was not created by the artist, but rather by AI technology,” Grant adds. Good AI Luckily it’s not all doom and gloom. UMG also shares many examples of how it uses AI to its advantage. This includes the creation of the new Beatles recording “Now and Then” released last month. AI technology is also used to help the company detect potential infringements, and to stave off cybersecurity threats. “The UMG security team uses AI to protect the employees, artists and stakeholders against cybersecurity threats which are vast in number and growing in sophistication,” Grant writes. The music company’s overview makes it clear that, like many technologies before it, AI can be used for good and bad. At the moment, UMG doesn’t believe that copyright regulation needs to be updated. That said, all stakeholders have to remain vigilant to prevent potential problems. — A copy of the WIPO contribution, prepared by UMG’s Vice President of Global Content Protection, Graeme Grant, is available here (pdf) From: TF, for the latest news on copyright battles, piracy and more. View the full article
  6. Chicago based artist Sherm has undoubtedly had his biggest year yet – from hosting a panel at ADE, performing at North Coast and Lollapalooza’s official afterparty with ACRAZE, to just recently being named by DJ Mag in their prestigious list as one of their emerging artists for December. Now, he’s back with his final release of the year, capping it off in the highest of notes with good friend Chris Diaz and their single “Standing Ovation”. “Standing Ovation” is a compelling tech house journey that showcases throbbing rhythms and infectious four-on-the-floor beats, perfectly capturing an underground essence. The track kicks off with a mesmerizing groove, steadily gaining momentum as intricate layers of percussion weave seamlessly with an entrancing vocal sample. Sherm’s distinctive touch is evident throughout, and Chris Diaz’s contribution adds an extra layer of allure, injecting undeniable energy into this single from beginning to end. Together, their unique melodic sensibilities create a hypnotic anthem that is sure to stay in heavy rotation deep into the new year. Listen below! This article was first published on Your EDM. Source: Sherm Teams Up With Chris Diaz To Cap Off 2023 With “Standing Ovation” Via Candy Flip Records View the full article
  7. When U.S. broadcaster DISH Network files another new lawsuit in the U.S., targeting various players in the IPTV ecosystem, the company maintains a long tradition of legal action that aims high and goes in hard. While DISH headlines all of these lawsuits with various appearances from Nagra and subsidiary Sling TV, behind the scenes DISH receives support from fellow members of IBCAP, the International Broadcaster Coalition Against Piracy. From monitoring and detection, content watermarking, DMCA takedown notices, to full-blown investigations, many tasks are handled under the anti-piracy group’s umbrella – and inside the IBCAP lab. We’ll take two, no need to erase any drives Retailer, Wholesaler, ‘Manufacturer’, DISH Likes to Meet Them All A legal tactic less commonly seen elsewhere sees DISH target U.S.-based retail outlets that resell pirate IPTV subscriptions (and/or pre-configured set-top boxes) offering content to which DISH holds U.S. rights. Small or large, these entities receive the same treatment in original complaints, with a minimum seven-figure damages claims to ponder. As DISH works to track down anonymous operators, of mostly overseas IPTV services being resold in the U.S., offers of information from various parties are rumored to put the plaintiffs in a better mood. Whether that will apply to defendants Massive Wireless, Inc., Khaled Akhtar, Rays IPTV LLC, and Mumyazur Rehman Daud, as DISH strives to identify Does 1-10, currently d/b/a as Glo TV, is unknown and likely to stay that way. Lawsuit Filed In New York District Court Filed in the U.S. District Court for the Eastern District of New York on Wednesday, the complaint speaks of a global pirate IPTV service variously branded as Glo TV, Rays IPTV, and Rays TV. Does 1-10 are described as the infringing IPTV service’s operators, who knowingly and unlawfully transmit, and publicly perform in the United States, TV channels for which DISH holds or held an exclusive license. “Illegal streaming services are able to offer consumers thousands of television channels at a fraction of the cost of legal providers such as DISH, because they do not pay fees to license the content they deliver,” the complaint notes. “For example, Defendants Rays IPTV LLC and Daud market the Infringing Service to the public by promising ‘No More Expensive Cable Bills,’ and targeting consumers ‘tired of paying too many bills for too little channels.’” DISH says the ‘direct infringers’ behind the service deliver it via servers located all around the world, which are regularly moved to avoid enforcement measures. DISH is yet to identify the direct infringers but believes they’re located overseas. Relationship Between Direct and Secondary Infringers “Without authorization from DISH, the Direct Infringers take broadcasts of these copyrighted works soon after the original, authorized transmissions, transfer them to one or more computer servers under their control, and then transmit them to Service Users through the Infringing Service using OTT delivery,” DISH explains. “The Direct Infringers carry and market the Infringing Service in two ways: by making the Infringing Service available to retail stores for resale to Service Users; and directly to individual Service Users. In other words, the Direct Infringers are both wholesalers and retailers of the Infringing Service.” DISH alleges that New York resident Khaled Akhtar is the CEO of Massive Wireless, Inc., a company doing business at an address in Jackson Heights, New York. California resident Mumyazur Rehman Daud is described as the CEO of Rays IPTV LLC, a company doing business in Ramona, California. “Defendants Daud and Rays IPTV LLC (together ‘Rays’) sell and market the Infringing Service directly to Service Users through websites and by telephone. Rays also sells [set-top boxes] preloaded with the Infringing Service to other retailers (including Massive Wireless). “Rays markets and brands the Infringing Service as, alternatively, Glo TV, Rays IPTV, and Rays TV. Though Rays sometimes rebrands the Infringing Service using different names, testing conducted by DISH investigators confirms that, since Glo TV and Rays IPTV/TV direct to the same authentication/authorization server, they are simply different brand names for the exact same service: the Infringing Service.” The complaint alleges that Rays sold access to the IPTV service via Raysiptv.com, with a one-month subscription costing roughly $65 and a 12-month subscription around $305. The same service was also promoted on Dauditl.com Warnings Ignored In August 2017, a DISH investigator is said to have visited Massive Wireless’s retail store to confirm sales of other infringing services carrying DISH content. DISH followed up with an infringement notice on August 23, 2017, supported by copies of judgments and permanent injunctions previously obtained by the company. A second infringement notice was sent on July 27, 2021, in broadly similar circumstances. In both cases DISH instructed Massive Wireless to cease-and-desist and both times DISH was ignored. In March 2023, a DISH investigator visited the same Massive Wireless store and when offered a 12-month subscription for $240, purchased one, and was given a receipt. A third infringement notice sent to Massive Wireless on May 5, 2023, performed as well as the two sent previously. Another visit to the retail store in June 2023 allowed the investigator to confirm continued sales of the infringing service through the purchase of a pre-loaded Rays TV-branded set-top box for $260, for which a receipt was also supplied. Three further infringement notices were ignored in July and August 2023, and sales continued in September. Copyright Infringement Claims In respect of Does 1-10, DISH alleges willful, malicious, intentional, and purposeful direct infringement and asks the Court to issue an injunction to curtail ongoing infringement. DISH says the secondary infringers’ conduct amounts to willful, malicious, intentional, and purposeful contributory copyright infringement and vicarious copyright infringement. The direct infringers and secondary infringers should be similarly restrained, the complaint adds. A statement issued by IBCAP lays out the potential consequences for the defendants and the scope of the requested injunction. An award of the defendants’ profits attributable to the infringement of the unregistered works An injunction prohibiting any hosting company from supporting Glo TV or any other service used to access channels exclusively licensed to the rightsholder An injunction prohibiting the defendants from distributing, providing, promoting, or selling set-top boxes and services that contain the relevant channels listed in the lawsuit An injunction prohibiting the defendants from distributing, providing, promoting, or selling set-top boxes and services that contain the subject channels An order permanently transferring each domain name that the defendants used in connection with the infringement to the plaintiff Prejudgment interest and post judgment interest Reasonable attorneys’ fees and costs Statutory damages of up to $150,000 per work for the willful infringement of 170 registered works – up to $25,500,000 total Chris Kuelling, executive director of IBCAP, says the lawsuit sends a “direct message” to the entire business chain involved in piracy. “From those who operate pirate services, to the distributors who wholesale pirate subscriptions, to the retailers who purchase and resell pirate subscriptions to consumers, the sale of pirate services will not be tolerated,” Kuelling says. “As with other cases coordinated by IBCAP, we fully expect these defendants will be held accountable, and the Court will enjoin retailers, wholesalers, and others from supporting the Glo TV service.” The complaint is available here (pdf) From: TF, for the latest news on copyright battles, piracy and more. View the full article
  8. Barclay Crenshaw, celebrated for his groundbreaking contributions to Dirtybird Records, is set to embark on a transformative journey with his 2024 headline tour, Open Channel. Departing from the familiar house sound associated with his Claude VonStroke persona, Crenshaw is venturing into the burgeoning realms of bass music. The announcement of tour dates at iconic venues such as Webster Hall along with the highly anticipated Texas Eclipse festival serves as a herald for a new musical era. The unveiling of this 13-stop tour is a precursor to the eagerly awaited release of his upcoming album, “Open Channel,” scheduled for a Spring launch via Easier Said. Before kicking off his tour, Barclay Crenshaw recently dropped a thunderous collab with Of The Trees called “Blue Mile ft. Strategy”. This track, mixing experimental bass and trap with some original UK vocals from Strategy, made its debut at their Red Rocks show – a perfect showcase of Crenshaw’s diverse musical style. Check it out below and get tickets to his tour here. This article was first published on Your EDM. Source: Barclay Crenshaw Announces 2024 Tour + New Album ‘Open Channel’ View the full article
  9. For a long time, pirate site blocking was considered a topic most U.S. politicians would rather avoid. This stance was a remnant of the SOPA defeat, which drove copyright holders to focus on blocking efforts in other countries instead, and not without success. Those challenging times are now more than a decade old, and momentum is shifting. After more than forty countries around the world instituted site-blocking measures, including in Canada, U.S. lawmakers may be more receptive to revisiting this topic. House Committee Hearing on Piracy Yesterday, the House Judiciary Subcommittee on Courts, Intellectual Property, and the Internet held a hearing on Digital Copyright Piracy. Specifically, lawmakers were interested to learn about the scope of the problem and the solutions available today. The representatives heard testimony from four witnesses. Rightsholders were represented by MPA’s Karyn Temple, UFC’s Riché McKnight, and award-winning producer Richard Gladstein. On the other side, CCIA’s Matthew Schruers defended the interests of Internet services. From the start, it was clear that lawmakers see piracy as a serious problem that requires solutions. U.S. Representative and committee chairman, Darrell Issa, started the hearing by presenting an overview of today’s challenges, from a global perspective. Pirates are ‘Hosted’ on Russian Military Bases The committee chairman notes that piracy has evolved from back-alley sales of DVDs to international criminal operations. He specifically mentioned the Vietnamese-operated streaming site Fmovies, while Russian military bases also play a role. “Many of these pirate websites like Fmovies are hosted on servers that exist outside the United States, currently outside our ability to take them down. This creates unique judicial challenges for enforcement against widespread piracy on such websites. “In some cases, these websites are even hosted within foreign governments, like the Russian government on military bases, and other enemies of the United States,” Rep. Issa adds. The Russian reference is interesting as the country has some of the most strict anti-piracy laws in the world today. Throughout the hearing, there was no further mention of the Russian military bases, but the comment may refer to optical disc piracy that took place nearly 30 years ago. Fmovies, on the other hand, remained front and center at the House hearing. Lawmakers get Fmovies Walkthrough With over 160 million monthly visits, Fmovies is one of the most notorious pirate streaming sites. The portal recently rebranded to Fmoviesz but the modus operandi remains the same; people can watch whatever they want, whenever they like, without paying a dime. MPA’s Senior Executive Vice President, Karyn Temple, illustrated the problem by giving a live demonstration of the website at the hearing. “Anyone can simply type the Fmovies URL into their favorite browser today and an extremely professional and legitimate-looking site pops up. You can literally scroll through thousands of movies and television shows including this year’s Blockbusters and even movies that have not yet hit theaters. “You’ll see all of our top-rated Blockbusters and popular films. Here you see coming up Wonka, which won’t be out in the United States theaters until this Friday,” Temple said while browsing through the site. Fmoviesz Demonstration Temple points out that most of the site’s visitors come from the United States. The MPA tried to take action against the site and encouraged the U.S. Department of Justice to help out but, since Fmovies’ operators are in Vietnam and its servers are in Bulgaria, options are limited. ‘U.S. Needs Pirate Site Blocking’ Several MPA representatives visited Vietnam earlier this year but that hasn’t resulted in concrete enforcement actions either. This means that blocking the site through ISPs, as many other countries do, is one of the only viable options at the moment. “If we had site blocking in the United States, as we do in the 16 other countries where versions of this site have been blocked already, then this piracy site’s U.S. traffic would have plummeted, protecting us consumers and the US creative sector, while removing the financial incentives for piracy,” Temple said. “It’s beyond time for Congress to revisit no-fault injunctive relief to combat blatant forms of piracy.” Why Are ISPs Not Blocking Fmovies Today? The call for site blocking is supported by other creative industry witnesses, who all describe it as an effective anti-piracy tool. CCIA President Matthew Schruers, whose organization represents several Internet services, was the hearing’s sole dissenting voice in respect of blocking. “The blunt instrument of architectural regulation is particularly inappropriate for policing subject matter like copyright,” Schruers informed the committee. “There exists a long history of site-blocking injunctions leading to overreach. This includes examples of overblocking restricting access to thousands of websites, without evidence or process. It is simply not possible to craft a uniquely American, speech-protecting site-blocking regime.” Schruers stressed that the availability of legal content remains the key option to deter piracy, while noting the availability of less-invasive enforcement avenues that can be explored. These concerns didn’t immediately convince all lawmakers and U.S. Representative Ted Lieu was particularly vocal. After browsing the Fmovies site on his phone during the hearing, he asked CCIA’s President why ISPs don’t block the site right now. “I just went on my phone and went on Fmovies and it’s still up. And I can watch Willy Wonka for free without paying for it. Why don’t the online service providers block it right now, like today?” Lieu asked. “This is such an unreasonable case it is so clearly online piracy copyright infringement and you don’t want your organization and your members to be defending something so blatantly unlawful and unreasonable. So I just ask your members to block that site today.” ‘Block Fmovies Today’ Mr. Schruers highlighted that the broadband access providers who can block the site aren’t here today and again stressed that legal availability is important and that less-invasive anti-piracy options are available. That didn’t convince Rep. Lieu, however, who requested the ISPs to be present at a future hearing. “I ask the Chair of this Committee to call in a hearing with the witness that represents the members that could block this site and block it now,” Lieu said. SOPA Scars and Instant Takedowns Committee Chairman Darrell Issa agreed to invite the ISPs directly for a future hearing, so they can explain their position. Meanwhile, it also became clear that the tensions of the SOPA debates more than ten years ago, have left permanent scars. “I hope we don’t get into another tumultuous, dysfunctional technical fight as we did twelve years ago,” Rep. Zoe Lofgren noted. The copyright representatives made repeated callbacks to the previous attempt to establish an American site-blocking regime. At the time, there were massive public protests and a broad revolt by Internet companies who feared overblocking and other negative consequences. These concerns were real at the time but now that site blocking has been rolled out in dozens of countries around the world, they should be reconsidered. “None of the hyperbolic predictions about the effects of site blocking have come true. Examples of overblocking of non-infringing content, stifling free expression, or deprivation of due process have been rare to the point of non-existence,” MPA’s Temple said. Mr. Schruers countered by pointing out that there have been overblocking incidents, reminding lawmakers that Spotify was inadvertently blocked in the House of Representatives ten years ago. All in all, however, the Committee made it clear that something must be done. Chairman Darrell Issa ended the hearing by mentioning that the import of copyrighted and trademarked goods can be easily stopped by U.S. customs, suggesting that the same should apply to the ‘import’ of pirated goods online through sites such as Fmovies. “For what’s possible in the tangible world, we want to find a solution in the Internet world. We will not quit under this committee until we do so,” Issa concluded. From: TF, for the latest news on copyright battles, piracy and more. View the full article
  10. After years of relative calm, punctuated by intermittent action against larger operations, law enforcement actions against pirate IPTV services in Europe are on the rise. The UK’s Eastern Region Special Operations Unit (ERSOU), a regional force with responsibility for disrupting organized crime and counter terrorism policing, has revealed details of raids executed on Tuesday targeting a pirate IPTV operation. Warrants Executed in England and Scotland ERSOU reports that simultaneous warrants were executed at residential addresses in Harlow and Chigwell in Essex, Waltham Cross in Hertfordshire, and Lanarkshire in Scotland. Two men, aged 33 and 35, were arrested on suspicion of fraud, money laundering, and intellectual property offenses. The investigation, led by ERSOU but most likely supported by Sky investigators, relates to a channel on Telegram where pirate subscription packages, granting illegal access to Sky TV channels, were sold to the public. Police say the packages were sold to thousands of end users, earning those behind the scheme over £800,000 (US$1.01m). Police Seize Cash, ‘Custom’ Streaming Devices, Firearms Police report that specialist financial investigators were able to seize around £17,000 (US$21,800) in cash, unnamed digital devices, and an unspecified number of ‘custom’ streaming devices. Supplied images featuring some of the seized cash, and clear evidence bags containing immediately recognizable orange boxes, suggests modified Amazon Firesticks were probably part of the haul. Images from the raids (credit: ERSOU) ERSOU reports that the men were taken into police custody where they were questioned and subsequently bailed. After two shotguns were seized by police, a man at the address in Harlow was also arrested for firearms license breaches, ERSOU reports. Large-Scale Criminal Operation ERSOU Detective Inspector Steve Payne says the arrests were part of an investigation into a “sophisticated large-scale criminal operation” that has generated significant revenue from the sale of illicit IPTV subscription packages. The money generated comes from buyers of the packages, most likely ordinary people looking for a cheaper way to access subscription TV. DI Payne says that after police obtained subscriber lists, further action shouldn’t be ruled out. “We have also gained access to the details of those purchasing the streams, and I would remind anyone doing so that they will be breaking the law and could ultimately be subject to criminal proceedings,” DI Payne notes. The arrests were also welcomed by Matt Hibbert, Sky’s Director of Anti-Piracy. “We’re grateful to ERSOU and to the forces involved for taking this action, which will have a significant impact on the illicit sale of Sky TV. We’ll continue to support efforts to shut down the organised networks involved in the large-scale theft of our content, and to protect consumers from the risks involved in accessing content in this way,” Hibbert says. From: TF, for the latest news on copyright battles, piracy and more. View the full article
  11. Over the past year, artificial intelligence enjoyed its mainstream breakthrough. The instant success of ChatGPT and follow-up releases of other large language model-based tools kickstarted what many believe is a new revolution. By now it is clear that AI offers endless possibilities. At the same time, however, it has ignited many new worries. Copyright holders, in particular, are concerned that their work is being used as training models but without permission. ‘Piracy-Trained’ AI Models Over the past few months, we have seen a variety of copyright lawsuits, many of which were filed by writers. These cases target ChatGPT’s OpenAI but other platforms are targeted as well. A key allegation in these complaints is that the AI was trained using pirated books. For example, several authors have just filed an amended complaint against Meta, alleging that the company continued to train its AI on pirated books despite concerns from its own legal team. This clash between AI and copyright piqued the interest of the U.S. Copyright Office which launched an inquiry asking the public for input. With more than 10,000 responses, it is clear that the topic is close to the hearts of many people. The tone of the responses isn’t hard to guess either. Copyright holders defend their rights and interests, often suggesting keeping a tight leash on AI training, while AI developers and tech companies prefer as few barriers to innovation as possible. Science Fiction and Fantasy Writers It’s impossible to summarize all opinions without AI assistance, but one submission stood out to us in particular; it encourages the free sharing of books while recommending that AI tools shouldn’t be allowed to exploit this generosity for free. The submission was filed by the Science Fiction and Fantasy Writers Association (SFWA), which represents over 2,500 published writers. The association is particularly concerned with the suggestion that its members’ works can be used for AI training under a fair use exception. SFWA sides with many other rightsholders, concluding that pirated books shouldn’t be used for AI training, adding that the same applies to books that are freely shared by many Science Fiction and Fantasy writers. “SFWA acknowledges the problem of generative AI scraping pirated material published as copy-protected ebooks by professional publishers, but SFWA additionally has the unique position of representing many authors who have fought to make their work available for free for human readers. “[M]any science fiction and fantasy authors of short fiction have embraced the open Internet, believing that it is good for society and for a flourishing culture that art be available to their fellow human beings regardless of ability to pay,” SFWA adds. Many of the authors strongly believe that freely sharing stories is a good thing that enriches mankind, but that doesn’t automatically mean that AI has the same privilege if the output is destined for commercial activities. The SFWA stresses that it doesn’t take offense when AI tools use the works of its members for non-commercial purposes, such as research and scholarship. However, turning the data into a commercial tool goes too far. “The current content-scraping regime preys on that good-faith sharing of art as a connection between human minds and the hard work of building a common culture. The decision to publish creative work online to read and share for free […] is a trade-off of many factors including piracy, audience, and the simple (albeit elusive) ability to make a living. “Bluntly, many authors do not want their work taken for this purpose, and that cannot be ignored,” SFWA insists. Frodo and Gandalf faced the Balrog in Moria AI freeloading will lead to unfair competition and cause harm to licensing markets, the writers warn. The developers of the AI tools have attempted to tone down these concerns but the SFWA is not convinced. On one hand, AI-generated Science Fiction and Fantasy publications may vastly increase the availability of content. It could lead to a “flood of trash” publications that make it harder for human writers to get noticed and reach an audience. AI-powered works could also compete within the licensed market, by using popular concepts, that are clearly inspired by existing works. Meta previously said that AI models learn by taking basic concepts from a variety of sources. However, the writers counter that an AI’s knowledge about Frodo and Gandalf is much more specific. Meta’s discussion in their lengthy section entitled, ‘How Large Language Models “Learn”’ uses the sentence, “Susan’s aunt planted the flower in the garden” to illustrate how these tools would draw from a wide variety of sources to learn individual words. This enables their tools to fluently use words like ‘flower’ and ‘Susan’; however, their explanation holds less true in how these tools would learn the words in a sentence like, “Frodo and Gandalf faced the Balrog in Moria.” Learning the words in that sentence both requires a much more targeted input data set, and—with due respect to Susan’s aunt—seems likely to be more commercially interesting. Finding a Balance The writers want to protect their rights but they don’t believe in the extremely restrictive position of some other copyright holders. They don’t subscribe to the idea that people will no longer buy books because they can get the same information from an AI tool, for example. However, authors deserve some form of compensation. SFWA argues that all stakeholders should ultimately get together to come up with a plan that works for everyone. This means fair compensation and protection for authors, without making it financially unviable for AI to flourish. “Questions of ‘how’ and ‘when’ and ‘how much money’ all come later; first and foremost the author must have the right to say how their work is used,” their submission reads. “So long as authors retain the right to say ‘no’ we believe that equitable solutions to the thorny problems of licensing, scale, and market harm can be found. But that right remains the cornerstone, and we insist upon it,” SFWA concludes. — A copy of the Science Fiction and Fantasy Writers Association’s submission to the U.S. Copyright Office’s inquiry is available here (pdf). From: TF, for the latest news on copyright battles, piracy and more. View the full article
  12. For more than a decade, the French government has produced a report detailing the digital content consumption habits of French internet users. Currently produced by telecoms regulator Arcom, the content consumption barometer report quantifies consumption of major content categories including movies, TV shows, live sports broadcasts, music, video games, software, and audiobooks, among others. It aims to profile consumers of content, map changes in consumption habits and sources, and gauge public perception of legal content availability. Arcom published the report’s 2023 edition yesterday. Overall Exposure to Cultural Content In terms of overall exposure to digital cultural and sporting content, the report estimates that 87% of internet users aged 15 and over, around 45 million people, were consumers in 2023. That’s up from 86% in 2022. Of the dozen content categories covered in the report, movies were consumed by 55%, music by 50%, and TV series by 49%, meaning no change in the most popular content categories consumed in 2023 versus last year. Paying (And Not Paying) For Content For 2023, Arcom reports that 61% of consumers or 27.5 million people, paid to consume digital content online. This year the average monthly spend was €38.00 ($41.00) per month, a significant increase from the €32.00 ($34.50) reported in 2022. The report notes that this is the biggest increase in average spending in recent years, with Arcom describing the uplift as “remarkable” in the context of price inflation. One of Arcom’s key responsibilities is to reduce piracy rates. In 2021, around 27% of internet users consumed at least one piece of pirated content, a figure that reduced to 24% in 2022. Arcom introduces 2023’s overall piracy rate as follows: “The fall observed in 2022 in the proportion of illegal consumption of digital cultural and sporting content has continued this year,” while later adding, “..this continues the decline seen in 2022.” While this year’s figures are provided, the “fall observed in 2022” was actually the difference between an overall rate of 27% in 2021 and 24% in 2022, in other words a three percentage point reduction in the overall piracy rate, aka success. Perhaps a less ambiguous statement would’ve been more helpful to describe the state of play this year. In 2023 there was zero reduction in the overall piracy rate, i.e. the rate is static year-on-year. In common with 2022, in 2023 around 24% of internet users still consumed at least one piece of pirated content. The report describes this as illegal content consumption “leveling off.” Appetite For Piracy Wanes With Age In common with most other studies conducted in Europe, piracy rates are higher among younger people in France and lower among the older generations. “The 15-24 and 25-39 age groups are the biggest consumers of illegal digital cultural and sporting content (46% and 36% respectively). Conversely, only 16% of 40–59-year-olds and 7% of 60+ year-olds are involved,” the report notes. When drilling down into content categories, the report says that a drop in illegal consumption was observed in a quarter. “This is particularly the case for films and music, two of the three content categories with the highest levels of illegal consumption by internet users in 2022 (-1 point each, to 12% and 6% of internet users respectively),” Arcom reports. “While illegal consumption of TV series, the second most pirated content in 2022, remains stable in 2023 within the internet user population (9% illegal consumption), there has been a slight fall among those who consume it (18%, -1 point).” Consumption of Illegal Streams & Downloads Fall The two most popular methods of obtaining infringing content in France are streaming and direct downloading, often referred to as DDL. However, this year’s report from Arcom finds that both methods experienced declining popularity in 2023. While remaining the most frequently used method among consumers overall (49% and 38% respectively), streaming fell two percentage points and downloading four percentage points versus rates in 2022. Arcom says that these declines in two key categories demonstrate “the positive effects of the anti-piracy measures implemented in 2022 and 2023.” While that may well be the case, if overall piracy rates remained static this year, something else must’ve taken up the slack. As the Arcom graph shows, remarkable gains are on display in two categories. In 2022, services in the ‘Usenet and newsgroups’ category were used by 11% of French internet users but in 2023, that figure has increased to 16%. The other category climbing quickly, Cloud services, reached a peak of 21% in 2020 and then fell to 19% and 16% in 2021 and 2022 respectively. In 2023, improved privacy versus other illicit content access methods may have contributed to Cloud services’ 2020-equalling usage rate of 21%. Illegal Access Rates Overall Arcom reports a “stabilization” in illicit consumption of live sports broadcasts for 2023. This year’s rate of 4% is identical to that reported in 2022, but still an improvement over 2021 where 6% of internet users consumed liver sports from illegal sources. In summary, illegal streaming was used by 49% of internet users in 2023, direct downloading (DDL) by 38%, social networks by 32%, with peer-to-peer networks such as BitTorrent hanging on to around 26% of users. The surprise package of Usenet (16%) and Cloud services (21%) returning to rates not seen since 2020 might be the trend to watch since Arcom has much less control over these methods. Deterring the use of streaming and downloading services may be considered a success, but that could be tempered if more complex issues are encountered further down the road. Arcom’s 2023 Barometer report is available here (pdf, French) From: TF, for the latest news on copyright battles, piracy and more. View the full article
  13. First of all – Where did Cloudy Parallels come from? Our radar lit up when they burst onto the scene with their previous single “Everlasting,” securing a spot in the top 10 charts. Now, with the release of “Owe It All To Me,” this enigmatic duo, along with producer OVRTHNKR and vocalist Keliza, deliver a truly genius track featuring multiple unique drops that push the boundaries of the EDM landscape. Keliza’s vocals add an epic dimension to the song, lifting it to new heights and showcasing a remarkable synergy within the collaboration. Each note resonates with depth and emotion, making “Owe It All To Me” a standout piece in their evolving discography. Shifting gears to Fred Again, the track “leavemealone” featuring Baby Keem is making waves with its rap-inspired vocals, UK garage-style drums, and a gritty bassline. Striking a balance between pop sensibilities and universal appeal, this track is a testament to Fred Again’s ability to capture a broad audience with his distinct sound. In summary, Fred Again continues to impress with “leavemealone,” while Cloudy Parallels establishes themselves as a new voice in melodic dubstep with the outstanding “Owe It All To Me.” This article was first published on Your EDM. Source: Fred Again and Cloudy Parallels Have “Song Of The Week” View the full article
  14. In the oversaturated genre of electronic music it’s hard to remain fresh. But the recent collaboration between Bandaii and The Wiccan, titled “Black Magic,” has managed to do just that. The single’s immediate allure lies in its distinctive vocals, creating a hybrid of hip-hop drums and EDM elements. “Black Magic” showcases a remarkable use of vocal chops, trap drums and wavy synths that truly mark something unique. It’s no surprise that this one broke into the top 100 charts peaking at No. 48, next to some of the top artists in the world. 24-year-old artist Bandaii, a budding artist from Las Vegas, Nevada, has already released an impressive array of five singles in 2023. Bandaii’s recent performance at BAUHAUS, supporting Vybrant Vibes, has garnered industry attention, with major producers starting to take notice. The success of “Black Magic” on the charts underscores Bandaii and the Wiccan’s meteoric rise, This article was first published on Your EDM. Source: A New Top 100 US Chart Entry: “Black Magic” By Bandaii & The Wiccan View the full article
  15. When Fred Again burst onto the scene with his groundbreaking boiler room set, he sent shockwaves through the industry. Now, a fresh electronic duo is capturing that same feverish, cult-like energy reminiscent of Fred Again’s early days. In an era dominated by the TikTok algorithm, where artists strive to promote themselves authentically, only a few manage to forge a genuine digital presence without compromising their brand. Meet Jersey, a dynamic French duo comprised of siblings making waves in the electronic music scene. They stand out amidst the crowd, choosing a unique path to showcase their authenticity, taking an unfiltered approach, producing videos with using 360 cameras, eye-catching AI-generated visuals, and hosting boiler room-esque parties scattered throughout Paris. The results are impressive, with Jersey recently surpassing 100,000 followers on social media, signaling no signs of slowing down. Their journey began in the basement of their family’s home off the Normandy coast in France, evolving into the underground clubs of Paris post-high school. Here, they honed their production skills, crafting a sound using analog equipment and instruments that seamlessly blend high-energy house music with elements of UK garage and Drum and Bass. This distinctive style defines their music, reflecting the frenetic energy of their live sets and synonymous parties. Jersey’s modern and fan-declared “futuristic” sound, coupled with viral live sets, quickly garnered a devoted following. Fans not only connect with their music but also with the compelling narrative of two siblings pursuing a shared dream, navigating the music industry on their terms while staying true to their artistic vision. Transitioning from local gigs to larger stages, Jersey’s online presence grew organically. TikTok videos and Instagram Reels offer behind-the-scenes glimpses into their creative process and electrifying live performances. Unlike traditional promotional content, Jersey’s approach feels like an extension of their artistry, turning followers into active participants in a journey that blurs the lines between the digital and the real. In the realm of French dance music, names like DJ Snake, Tchami, Mercer, and Malaa of the Pardon My French collective dominate. With a name poised to reignite France’s dance music dominance, Jersey is positioned to be the next breakthrough act in the French electronic music scene. Don’t miss out on Jersey’s debut EP, “The World I’m Searching For,” available now via TH3RD BRAIN Records. Connect with Jersey on social media: Instagram: Jersey’s Instagram YouTube: Jersey’s YouTube Channel TikTok: Jersey on TikTok Facebook: Jersey’s Facebook Profile This article was first published on Your EDM. Source: Introducing Jersey: The Rising Force in French Dance Music View the full article
  16. In the rapidly advancing landscape of AI technology and innovation, LimeWire emerges as a unique platform in the realm of generative AI tools. This platform not only stands out from the multitude of existing AI tools but also brings a fresh approach to content generation. LimeWire not only empowers users to create AI content but also provides creators with creative ways to share and monetize their creations. As we explore LimeWire, our aim is to uncover its features, benefits for creators, and the exciting possibilities it offers for AI content generation. This platform presents an opportunity for users to harness the power of AI in image creation, all while enjoying the advantages of a free and accessible service. Let's unravel the distinctive features that set LimeWire apart in the dynamic landscape of AI-powered tools, understanding how creators can leverage its capabilities to craft unique and engaging AI-generated images. Introduction LimeWire, a name once associated with the notorious file-sharing tool from the 2000s, has undergone a significant transformation. The LimeWire we discuss today is not the file-sharing application of the past but has re-emerged as an entirely new entity—a cutting-edge AI content publishing platform. This revamped LimeWire invites users to register and unleash their creativity by crafting original AI content, which can then be shared and showcased on the LimeWire Studio. Notably, even acclaimed artists and musicians, such as Deadmau5, Soulja Boy, and Sean Kingston, have embraced this platform to publish their content in the form of NFT music, videos, and images. Beyond providing a space for content creation and sharing, LimeWire introduces monetization models to empower users to earn revenue from their creations. This includes avenues such as earning ad revenue and participating in the burgeoning market of Non-Fungible Tokens (NFTs). As we delve further, we'll explore these monetization strategies in more detail to provide a comprehensive understanding of LimeWire's innovative approach to content creation and distribution. LimeWire Studio welcomes content creators into its fold, providing a space to craft personalized AI-focused content for sharing with fans and followers. Within this creative hub, every piece of content generated becomes not just a creation but a unique asset—ownable and tradable. Fans have the opportunity to subscribe to creators' pages, immersing themselves in the creative journey and gaining ownership of digital collectibles that hold tradeable value within the LimeWire community. Notably, creators earn a 2.5% royalty each time their content is traded, adding a rewarding element to the creative process. The platform's flexibility is evident in its content publication options. Creators can choose to share their work freely with the public or opt for a premium subscription model, granting exclusive access to specialized content for subscribers. LimeWire AI StudioAs of the present moment, LimeWire focuses on AI Image Generation, offering a spectrum of creative possibilities to its user base. The platform, however, has ambitious plans on the horizon, aiming to broaden its offerings by introducing AI music and video generation tools in the near future. This strategic expansion promises creators even more avenues for expression and engagement with their audience, positioning LimeWire Studio as a dynamic and evolving platform within the realm of AI-powered content creation. AI Image Generation Tools The LimeWire AI image generation tool presents a versatile platform for both the creation and editing of images. Supporting advanced models such as Stable Diffusion 2.1, Stable Diffusion XL, and DALL-E 2, LimeWire offers a sophisticated toolkit for users to delve into the realm of generative AI art. Much like other tools in the generative AI landscape, LimeWire provides a range of options catering to various levels of complexity in image creation. Users can initiate the creative process with prompts as simple as a few words or opt for more intricate instructions, tailoring the output to their artistic vision. What sets LimeWire apart is its seamless integration of different AI models and design styles. Users have the flexibility to effortlessly switch between various AI models, exploring diverse design styles such as cinematic, digital art, pixel art, anime, analog film, and more. Each style imparts a distinctive visual identity to the generated AI art, enabling users to explore a broad spectrum of creative possibilities. The platform also offers additional features, including samplers, allowing users to fine-tune the quality and detail levels of their creations. Customization options and prompt guidance further enhance the user experience, providing a user-friendly interface for both novice and experienced creators. Pro Plus plan: For $99 per month, you will get 11,250 credits per month, up to 2 2,500 image generations, early access to new AI models, and 70% ad revenue share With all premium plans, you will receive a Pro profile badge, full creation history, faster image generation, and no ads. Sign Up Now To Get Free Credits ConclusionIn conclusion, LimeWire emerges as a democratizing force in the creative landscape, providing an inclusive platform where anyone can unleash their artistic potential and effortlessly share their work. With the integration of AI, LimeWire eliminates traditional barriers, empowering designers, musicians, and artists to publish their creations and earn revenue with just a few clicks. The ongoing commitment of LimeWire to innovation is evident in its plans to enhance generative AI tools with new features and models. The upcoming expansion to include music and video generation tools holds the promise of unlocking even more possibilities for creators. It sparks anticipation about the diverse and innovative ways in which artists will leverage these tools to produce and publish their own unique creations. For those eager to explore, LimeWire's AI tools are readily accessible for free, providing an opportunity to experiment and delve into the world of generative art. As LimeWire continues to evolve, creators are encouraged to stay tuned for the launch of its forthcoming AI music and video generation tools, promising a future brimming with creative potential and endless artistic exploration View the full article
  17. Uniting the music community around the globe and welcoming attendees for their second annual Jackpot event, RVLTN Events and Downtown Las Vegas Events Center are taking the highly-anticipated event to the next level. Nestled in the heart of the iconic Las Vegas, Jackpot promises an evening of non-stop excitement, featuring an incredible lineup that will leave you breathless and mesmerized from the start. With a truly stellar 18+ lineup for the masses. Jackpot boasts a diverse lineup of talented artists this year which includes Kaskade, ARMNHMR, Deorro, Good Times Ahead, Mashbit, SAYMYNAME, and YOOKiE. Headlining the one-day extravaganza on December 30th is none other than the legend, the pioneer of progressive house – Kaskade. Known for turning every performance into a mesmerizing spectacle, Kaskade is set to ignite the vibes with his chart-topping hits and unparalleled stage presence. Additional performances from Deorro, Good Times Ahead, SAYMYNAME, and YOOKiE are all guaranteed to take you on an immersive journey where the desert sky meets electrifying wobbles. Get tickets here and check out the full lineup below! This article was first published on Your EDM. Source: Jackpot Unveils Stellar Lineup Featuring Kaskade, Deorro & more View the full article
  18. After an incredible summer season, including the release of their self titled EP, a residency at Hi Ibiza and sold out headline shows at The Brooklyn Mirage and Studio338 London, Meduza return to AETERNA with one of the staple records of their live shows, Musica. The track is both hypnotic and driving with the omniscient style vocal emanating from the silent ambience of the record, only then to be coupled with winding sirens, setting the tone for the dancefloor to ready themselves for the inevitable pumping beat and percussion which follows. It is a quintessential dancefloor weapon made with the soundscape and sonics you would only expect from seasoned musicians like Meduza. Speaking about the record, Meduza said “Musica is one of those records that moves every dancefloor. We have played it as the start track, middle track and wherever we put it, it always sounds massive and has the crowd pumped and chanting on the dancefloor.” Listen below! This article was first published on Your EDM. Source: Meduza Drop Exhilarating Single, “Musica” View the full article
  19. In a remarkable fusion of genres and eras, UK’s renowned DJ and producer Freejak has recently unveiled his latest masterpiece, “Only You”. This track is rapidly gaining acclaim for its unique ability to transcend traditional musical boundaries, establishing itself as a sonic wonder in the contemporary music scene. “Only You” is characterized by a riff that has ignited a fervor across various musical landscapes. This element of the track not only captivates its listeners but also stands as a testament to Freejak’s skill in weaving together diverse sonic elements. The track is a blend of innovation and nostalgia, appealing to a wide range of music enthusiasts. Recognized for its instant appeal in live performances, “Only You” encapsulates an energy that has become a hallmark of Freejak’s electrifying sets. The track’s carefully crafted rework amplifies its impact, offering an unbridled rush of excitement for DJs and music lovers alike. Freejak, in a recent statement, expressed his aspirations for the track: “I genuinely hope that fellow DJs and music enthusiasts revel in the sheer potency of this timeless gem.” He acknowledges the unique allure of “Only You” and its capacity to captivate audiences worldwide. “Only You” emerges not just as a track but as a symbol of Freejak’s ongoing journey in redefining musical paradigms. It showcases his relentless dedication to creating sonic escapades that push the limits of conventional music. In a quote that further underscores his passion for the track, Freejak said, “The riff from ‘Only You’ has gotta be one of the all-time greats. Universally accepted by Rockers, Hip Hoppers, and the electronic dance world. It was an instant crowd pleaser that I had to rework to include in my sets. I sincerely hope that other DJs and music fans can enjoy the power and energy of this classic as much as I do.” As “Only You” continues to resonate across the globe, it solidifies Freejak’s position as a visionary in the world of music, capable of creating tracks that are not just heard but experienced. Listen to “Freejak – Only U” and join the journey through the uncharted territories of sound. This article was first published on Your EDM. Source: Freejak’s Latest Track “Only You” Reshapes Musical Horizons View the full article
  20. In the year of the blockbuster Eras Tour, Time recognizes Swift as “the individual who most shaped the headlines over the previous 12 months, for better or for worse”View the full article
  21. “I have so much love and affection for John as a person and his music,” Conor Obserst said. “He really changed my life on a lot of levels.”View the full article
  22. Dates in April and May before a series of European festival dates over the summerView the full article
  23. Paul McCartney remembered his late bandmate as “a great talent with a fine sense of humour”View the full article
  24. Beginning in March, the Chilean musician will go on her first full-on U.S. run since 2018View the full article
  25. The reserved harpist makes a rare festival appearance alongside LCD Soundsystem, Vampire Weekend, and more in Salt Lake City next springView the full article
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