NelsonG

As astronomers have used large telescopes to scan the skies for exoplanets, they've noted something odd: Worlds of a certain size are conspicuously missing in space. The number of confirmed exoplanets — planets orbiting stars other than the sun — has risen to 5,539, according to NASA, with over 10,000 more candidates under review. But exoplanet hunters believe the universe is likely teeming with many trillions of planets. These exoplanets come in different sizes. Of the midsize worlds, they are mostly divided into two groups, known as super-Earths and mini Neptunes (or sometimes sub-Neptunes). Although both kinds are larger than Earth and smaller than Neptune, super-Earths can be as much as 1.75 times the size of our home planet, and mini Neptunes are double to quadruple the size of Earth. But if worlds were lined up in order of size, there would be a noticeable gap smack-dab in between super-Earths and mini Neptunes — planets that are about 1.5 to 2 times the size of Earth. "Exoplanet scientists have enough data now to say that this gap is not a fluke," said Jessie Christiansen, an Infrared Processing and Analysis Center research scientist at Caltech, in a statement. "There’s something going on that impedes planets from reaching and/or staying at this size." SEE ALSO: The curious planets scientists have ogled in 2023, so far The absent midsize planets are the focus of a new study published in The Astronomical Journal. Christiansen led the research team, which looked at the Milky Way star clusters Praesepe, sometimes known as the beehive, and Hyades, located on the face of the Taurus constellation, using NASA’s Kepler Space Telescope data. The size gap could be caused by certain mini Neptunes actually shrinking over time. If such a world doesn’t have enough mass, and thus gravitational force, it could lose its atmosphere by its core emitting radiation that pushes the atmosphere away. Over time, these less-massive mini Neptunes would shrink down to the size of a super-Earth. Scientists believe this could occur about 1 billion years into a planet's life. Want more science and tech news delivered straight to your inbox? Sign up for Mashable's Light Speed newsletter today. "Exoplanet scientists have enough data now to say that this gap is not a fluke." But there's another possibility that could answer for this behavior. So-called photoevaporation, thought to occur in a planet’s first 100 million years, happens when a planet's atmosphere is blown away by the radiation of its host star, similar to what would happen if you pointed a hair dryer at an ice cube, Christiansen said. The coauthors are leaning toward the first explanation — with the source of the radiation coming from within the planet's core — because the star systems they were observing are thought to be about 600 to 800 million years old. If photoevaporation were the cause, it likely would have happened hundreds of millions of years earlier, they figure, and the planets would have barely any atmospheres left to speak of. But to put the question to bed, scientists will need to conduct several follow-up studies in the future to prove or disprove the researchers' findings. View the full article

Perry Farrell and the band recently announced their farewell tourView the full article

No matter where people live or how much knowledge and experience they’ve accumulated, governments and corporations rarely shy away from an opportunity to offer behavioral advice. Delivered via TV, radio and the internet, public service announcements enlighten the masses on topics seemingly so complex, they’re only fully understood by the few. Even if that was the case, 30 seconds of theatrics followed by what amounts to a blind order may have worked 40 years ago; today, people expect more than that and when it comes to anti-piracy PSAs, magnitudes more. For the last few years the global anti-piracy message hasn’t wavered for a moment. There’s no memorable slogan to recall, but the message couldn’t be clearer: If people pirate content, using IPTV services in particular, more likely than not they will become infected with malware, have their identities stolen, credit cards maxed-out, and/or bank accounts emptied. It’s one of the strongest and most united messages ever sent, and with multiple and significant caveats, even has some basis in truth. It appears to have done little to suppress demand, however. Whether events unfolding in South Korea will dampen local demand remains to be seen, but the narrative playing out on national news could hardly be worse for pirate sites. Piracy and Illegal Gambling Start Sharing a Cell Before the advent of various international schemes that prevent gambling companies from advertising on pirate sites or contain an abstention agreement, gambling ads and pirate site were commonly seen together. In South Korea, the government is no fan of piracy, but it tolerates illegal gambling even less. Online gambling within South Korea is outlawed, and government control in the rest of the market effectively amounts to a lucrative monopoly. When pressure mounted on former local piracy site Noonoo TV, the existence of ads promoting illegal gambling on the site receive dozens of mentions in the media. While Noonoo seems to be dead, the local piracy/gambling nexus is reportedly in full swing. With black market gambling reportedly worth up to $80 billion, national TV news channel KBS has run dozens of stories over the past couple of months, all with a common theme. Enjoy the Movie, Stay For the Gambling The story at the heart of the current controversy dates back to September; KBS published a video report (below, English translation via subtitle) in which the presenter explains (around the one-minute mark) that the channel’s reporters tested out an illegal streaming site offering Netflix content for free. When a reporter clicked on one of the ads, it led to a surprisingly open criminal who confirmed the channel’s suspicions, apparently with no hesitation. “When I click on the advertising banner on the screen, I am taken directly to an online gambling site. On other illegal streaming sites, similar advertisements appear on the screen,” the presenter says. “After checking them one by one, most of them were the same company. A reporter contacted the online gambling operator and asked if he had anything to do with the streaming site, and he answered ‘yes’. So, it appears that they are making money by offering free OTT services and luring users who are misled by them to gambling sites,” Commenting on the allegations, police confirmed an investigation into the connections between gambling sites and pirate streaming portals, adding that accounts linked to five sites had been frozen, with two sites shut down. “The problem with these illegal OTTs and the gambling sites connected to them,” the presenter adds, “is that even teenagers are exposed to them without protection.” Teenage Gambling Addicts How KBS identified and then obtained permission to interview school kids who used these sites isn’t clear. The channel disguised their voices and blurred out their faces, but there’s little to hide their naivety. One of the opening statements appears to show a lack of understanding, if not complete ignorance, of exactly the type of disclosure that can ruin people’s lives. “Even though I was a minor, I signed up immediately after entering my name, date of birth, and phone number, and that’s how I started ‘gambling’,” a student revealed. “I was trying to watch it for free, but a lot of windows appeared at the bottom and a window at the top,” added another. “While watching a free movie on an illegal OTT site, I inadvertently saw an advertisement. I clicked and entered the gambling site,” the interviewer was told. “At first, out of curiosity, I went to the gambling site. The money I sent later grew out of control, and I even resorted to private loans.” The final horror story manages to sound even more miserable than the others. “This year I earned about 10 million won [US7,600],” the student said. “I originally saved up the money by doing a part-time job. But my mother and her parents had to give luxury goods and gold, and I took all of the collateral, because the interest rates on the losses jumped 100% in three days.” Video From Inside an Alleged Gambling/Pirate Site Operation KBS News doesn’t reveal who provided the video, but it was allegedly recorded inside an office where a gambling operation was based. The channel says it shows both the gambling platform and the pirate site being operated from the same room, enough evidence for the channel to conclude direct links between pirate movies and TV shows, and illegal gambling. “There are adult sites and drama-watching sites. Those are the ones that work best,” a company official explained. “These days, [gambling] sites don’t work without kids.” From: TF, for the latest news on copyright battles, piracy and more. View the full article

Eboni Booth will write the book and Whitney White will direct the stage adaptation of the book and Netflix showView the full article

Perfume Genius, Florence Welch, Bleachers, and Beabadoobee will perform covers for the Apple TV+ series starring Juliette Binoche and Ben MendelsohnView the full article

The rappers face off in ping pong, chess, and more in the For All the Dogs visualView the full article

Lead single “100lbs of Summer” features London R&B singer Greentea PengView the full article

Shields and J Mascis reunited to sing their own songs and cover “Just Like Heaven” in LondonView the full article

A couple mulls the big questions in the visual for the title track of the National’s recent albumView the full article

Lana Del Rey sings on the second single from the band’s fourth studio albumView the full article

The Horns, Thorns en Halos Farewell Tour begins in FebruaryView the full article

⦿ Guy Owes $117m After pornEZ Suddenly Got Hard ⦿ “No Fees Ever” Tanggula TV Trafficking Targeted ⦿ Z-Library’s Domains Just Keep on Disappearing… ⦿ Anna’s Archive’s Sudden X / Twitter Vanishing Act ⦿ Sci-Hub Meets 24/7/365 UK Block Party Mid-January 2023, MindGeek subsidiary MG Premium sued Nguyen Hoi, the alleged operator of unlicensed adult streaming site, Pornez.net. (2:23-cv-00349-CBM-PVC – MG Premium Ltd v. Nguyen Hoi) Data from Google’s Transparency portal reveals that MG filed over 5.6 million DMCA takedown notices hoping to make the site less visible. On November 6, 2023, a California district court handed down a permanent injunction and ordered the defendant to pay MG Premium a cool $117,270,000 in statutory copyright damages. Pornez.net is no longer online but sites with similar domains and extensions appear keen to emulate their namesake, not including the damages award, obviously. Extracting massive damages awards from pirates is something DISH Network also enjoys. A DISH/Sling lawsuit filed last month in a Carolina district court targets Sentry Inc. and alleged owner, Michael Graziano. The complaint claims that the defendants “provide and profit from the sale of an illicit streaming service known as Tanggula” through which it’s possible to watch DISH/Sling programming without authorization. Tanggula set-top boxes are advertised on social media platforms, sold via various affiliate and reseller schemes, and ‘reviewed’ regularly on YouTube. According to the Black Friday offers currently being advertised on Twitter, $299 is the ‘bargain’ rate for a black and red Android-based device. However, DISH doesn’t appear too concerned about Tanggula boxes per ser, its focus is the software that runs on these devices and the thousands of live TV channels on offer. Indeed, after shelling out the initial sum, Tanggula says buyers can look forward to paying “no fees ever”. DISH claims that the defendants sell access to packages via the websites www.alltvboxes.com and www.elitetv2023.com. Both websites were operational when the lawsuit was filed but are now offline. DISH investigators made undercover purchases according to the complaint (9:23-cv-05074 DISH Network LLC et al v. Sentry, Inc. et al, pdf), which seeks damages for alleged violations of the DMCA’s anti-trafficking provisions (17 U.S.C. S 1201). Z-Library had dozens of domains seized last week, presumably some type of gift to celebrate the one-year anniversary of the initial law enforcement crackdown. During this wave the United States teamed up with Austrian law enforcement agencies (more detail in our Nov 8 report). Z-Library confirmed the seizures late last week, noting that the domains were connected to Z-Library sub-projects. Since our initial report, an additional main/backup domain has also been seized. Z-Library is still in control of its main domain (singlelogin.re) but lost singlelogin.asia in the recent round of seizures. It joins singlelogin.app, singlelogin.site, singlelogin.click, and a couple of hundred additional domains now under the control of U.S. authorities. On a related note, Anna’s Archive appears to be still going strong but as a reader pointed out to us on Monday, the @AnnaArchivist account on X/Twitter was wiped out last week and no longer exists. Finally, Sci-Hub and its mirrors/proxies will soon become less accessible for customers of the UK’s largest ISPs. As part of a High Court-sanctioned blocking campaign, Elsevier & Springer Nature recently added around a dozen new entries to the blocklist. Sci-hub.pk and various subdomains of scihubtw.tw, sci-hub.se, sci-hub.st and unblockit.zip, join hundreds of previous blocklist entries targeting Sci-Hub and Libgen. From: TF, for the latest news on copyright battles, piracy and more. View the full article

Ian Oliver, known as barnacle boi, has not only carved a niche for himself at prominent music festivals this year, like Imagine Fest, Wakaan Fest, Elements Fest, and Sound Haven, but also made a notable double appearance at Red Rocks in late 2022. Revered for his deeply emotional, bass-centric, and evocative trap compositions, as well as for his collaborations with icons such as Bones (TeamSESH), Holly Stell, and Madi Larson, barnacle boi’s star is on the rise. Bolstered by support from huge names like Alice Glass and Finn Wolfhard of “Stranger Things”, he draws from the nostalgic chords of 90’s/2000’s anthems, infusing them with his groundbreaking innovations. Now, he’s back with his highly anticipated ‘Introspect’ EP – making his label debut on Vibe Digital. The result is truly spectacular, as barnacle boi creates a thrilling ride from start to finish on this six track EP. The title track sets the tone, making a thunderous entrance while the subsequent song “Love Hotel” ushers in a more contemplative, downtempo element beautifully executed. “In The Dark” encompasses notes of festival trap mixed seamlessly with cinematic textures while “U Were Everything 2 Me” takes us even further down the rabbit hole into the sonic bliss curated by barnacle boi. “Stubborn” offers a mesmerizing vibe while “Sorry” caps off the EP with a darker, UK garage sound that yet again shows just how sonically eclectic barnacle boi is. Listen below! This article was first published on Your EDM. Source: barnacle boi Releases Thumping ‘Introspect’ EP View the full article

Ren Zukii is the moniker of 26 year old West Australian experimental bass music producer Rene Snow – who’s truly carving her own lane in this scene. Her music fits somewhere in between chaotic and emotionally impactful, with unhinged creativity guiding her ever step of the way. Now, she’s back with a new single “10 Hour Shower” via Liquid Stranger’s Wakaan imprint and the single lives up to the hype. Packed with thunderous bass chords and an electrifying arrangement, Zukii turns this into a colossal main stage banger. “I wrote this track in a tropical thunderstorm in Sumatra, Indonesia. It rained for 10 hours straight while I was there on a surfing trip, so that’s where the title of the track comes from. I was feeling super inspired to write music while in Indonesia, as I used to live there when I was 16, teaching English in a local village.” – Ren Zukii Listen below! This article was first published on Your EDM. Source: Ren Zukii Drops Thunderous Single “10 Hour Shower” via Liquid Stranger’s Wakaan’s Imprint View the full article

Most American ravers know very little about the scene in the former Eastern Bloc, aside perhaps from Berghain and the festivals in Croatia. Drum & bass denizens would likely know about Let It Roll out of Prague and maybe that Czechia is a hub of modern neurofunk, but may not know how big the scene actually is in Czechia and Slovakia. In fact, it’s quite widespread, with the popular imagination festival, loads of clubs and some of the most popular producers coming out of everywhere from Dresden to Russia. Beats for Love, a festival based in Ostrava, Czechia on the Polish border, seems to have been one of the most overlooked by North American punters while simultaneously becoming one of the biggest festivals on the planet. It’s time said punters take notice. With festival fans beginning work on planning their summers around now, it’s a good time to look up Beats for Love. Conceived in 2013 by festival director Kamil Rudolf as a way to bring big rave names to Central Europe for reasonable prices, B4L’s tenth anniversary is set for early July, 2024. It’s a full week-long festival set in an old ironworks with cool, dystopian vibes, in an urban and easily accessible area and features huge lineups, with 2023’s festival hosting nearly 500 artists. B4L makes sure they cover all genres as well, featuring everyone from Deadmau5 and Tiësto to A.M.C and the Eatbrain League. There are also conference-style forums during the week, daytime carnival activities and a fireworks display at the end that rivals EDC. It’s no wonder it’s now the biggest festival in Central Europe, with nearly a quarter of a million visitors at the 2023 fest. With her career born out of the burgeoning Czech and Slovak rave scenes of the late 90s and early 00s, DJ Beaty has become a fan favorite both in her hometown of Ostrava and throughout Europe. Her high-energy house, techno and drum & bass sets are usually a mustn’t miss for those in the know, and she dances just as hard as anyone on the floor. Now working on her all-female event series Proppa Rave with childhood bestie and Dnbwear bosslady Mila207, collaborating with club Fabric in Ostrava on all-female events series “Grls on the Decks” and working with Trident Events in Slovakia, Beaty’s also the boots-on-the-ground coordinator and marketing manager for Beats for Love. Getting to know her and her positive vibes is also getting to know B4L, so with the 2024 season approaching, YEDM decided to chat with beaty and get to know them both. How did you get involved with music? For the Americans who are just now hearing about it, can you give us a little history on Beats for Love? Beats for Love is an electronic dance music festival held at the heart of the Industrial National Monument in Ostrava (an actual UNESCO World Heritage Site). It’s surrounded by the ironworks scenery of the Lower Vítkovice area, so it’s got a very different vibe. This year we will celebrate the tenth anniversary of the festival and because we’re so well-established now, we’ve been able to fill it with plenty of outstanding music on 15+ stages headlining by the biggest names all over the world, not to mention a rich accompanying program and loads of other activities for four days. This creates a really unique atmosphere full of fun and enjoyment! What was the idea behind the festival and how have you seen it grow or change over the years? The original idea was to organize an event in an industrial space and the original idea was to show electronic music to as many people as possible, which for us meant “a lot of music for little money,” and connect fans from different genres in one festival. Of course, over time, the festival got bigger, and with that bigger names are added, and with that came an increase in prices, but we are still one of the cheapest festivals year in and year out in terms of the price/performance ratio so we feel our original mission still stands. How have you been able to get such huge talent to come to the festival each year? We’re a team here at B4L so I think the best person to answer this is George Ramík, our festival booking manager: The festival is expanding year by year, not only in terms of production but also the composition of the program. Every year we manage to book a better lineup and this is also connected with the fact that the festival wants to grow. In order for the festival to be better, we need to put more resources into the line-up and we strive to bring people a better program every year. I think the reason why big headliners like to come back to us and want to play here is the unique environment of the old factory, which is not found anywhere else in the world. The main reason, in my opinion, is because of our artist care. We go above and beyond with high-quality artist care and first-class facilities for the whole week. Agents and managers visit our festival to see what Beats for Love is all about and they received first-class service too, which they greatly appreciate. I also think it’s our curated image. Our festival has a face and we keep our relationships strong. Artists and their agents already know us from the communication before the festival and these are the same people they will meet at the venue. We are not just a company, but a team and a family. The same people have been working together on this festival for a long time, so the artists know exactly who they are and they know they can always count on us to take care of them and present a great festival. Beaty @ B4L 2023, filmed by Mark Spinx For you personally, how does the festival tie in with your own music career? For me this event is always the highlight of the year, not only because I work on it the whole year but it is one of the biggest crowds I get to play to. It also helps that it is in my hood, I get to meet all my DJ, producer and industry friends in one place and I don’t even have to travel! I feel so happy to be involved with one of the most important rave events of the year. Where would you like to see the festival go in the future?* *I asked our head of marketing, Matyas Ozana, to weigh in on this one: Our goal is to be at the level of such giants as Tomorrowland or Glastonbury, which are known all over the world. In the meantime, the most important thing for us is that the festival still has so many great and satisfied fans, because it is not possible without them and mainly we are doing it for them! How has it been trying to manage the festival as well as doing your own gigs? I´m working for Beats for Love as a marketing manager so during the week I’m going to work normally and during the weekends I’m doing shows. Sometimes it is challenging to be at “work” all the time, but when it is your passion and you love what you do, it just doesn’t feel like you are at work. What is your favorite part of touring and playing so many gigs? I love to visit new places and meet new people. I’m doing one or two gigs during the week so it’s quite tiring sometimes with the distances to venues are very long. After a weekend full of gigs I’m really tired but as I said, I love what I do so it also gives me a lot of energy. What’s your goal as a musician? At the moment it’s to continue what I’m doing and try to do my best as a DJ. My goal this year is to take my DJ skills to the next level, which will liven up my performance so mainly I’m focusing on DJing right now. Also I would like to start my own production but at the moment I’m fully busy with my family, job and projects so at the moment I’ve got a pretty full plate. Any upcoming projects for you or teasers for next year’s B4L? This year Beats for Love will celebrate our tenth anniversary, so the preparations are in full swing. We have so many upgrades to the different areas and visuals to ensure the best possible music experience for our #peopleoflove! Last year at the festival we started with the new project “Talking Beats” which is a conference and a meeting of the organizational team with the people from the music business sphere, which was a great success. This year we would like to increase it, extend it to more days, invite interesting guests again and discuss topics related to electronic music, mental health and other interesting topics that are connected to music and the festival in general. There are loads more Beaty sets available on her YouTube channel. Click here to learn more about the 2024 Beats for Love fest, updates on the lineup and tickets, which are already on sale. This article was first published on Your EDM. Source: Beaty and Beats for Love: Meet the DJ Who’s All Things Rave in Czechia and Slovakia View the full article

While all non-compliant DMCA takedown notices are invalid by default, there’s a huge difference between those sent in error and others crafted for purely malicious purposes. Bogus DMCA takedown notices are nothing new, but the rise of organized groups using malicious DMCA notices as a business tool has been apparent in recent years. Since the vast majority of culprits facing zero consequences, that may have acted as motivation to send more. Through a lawsuit filed at a California court on Monday, Google appears to be sending the message that enough is enough. Defendants Weaponized DMCA Takedowns Google’s complaint targets Nguyen Van Duc and Pham Van Thien, both said to be residents of Vietnam and the leaders of up to 20 Doe defendants. Google says the defendants systematically abused accounts “to submit a barrage” of fraudulent copyright takedown requests aimed at removing their competitors’ website URLs from Google Search results. “Defendants have weaponized copyright law’s notice-and-takedown process and used it not for its intended purpose of expeditiously removing infringing content, but instead to have the legitimate content of their competitors removed based on false allegations. Defendants’ illegal, fraudulent scheme harms consumers, third-party businesses, and Google; stifles competition; and threatens to tarnish Google’s trusted brand.” Over the past few years, Nguyen, Pham and those working with them, are said to have created at least 65 Google accounts to send confirmed bogus notices targeting 117,000 URLs, plus another 500,000 URLs via notices that Google suspects are fraudulent too. “Defendants appear to be connected with websites selling printed t-shirts, and their unlawful conduct aims to remove competing third-party sellers from Google Search results. Defendants have maliciously and illegally exploited Google’s policies and procedures under the DMCA to sabotage and harm their competitors,” the complaint adds. Google Aims to Put an End to Abuse, Hold Defendants Accountable Google goes on to highlight its position as a major intermediary that processes DMCA notices targeting 600 million URLs every year, and the requirement under the DMCA to remove or disable content notified as allegedly infringing. If the company fails to act expeditiously once in receipt of a DMCA notice that complies with the statutory requirements, the company risks losing its safe harbor protection, Google notes. Since Google must often rely on the accuracy of statements made in DMCA notices, fraudulent notices can result in content being wrongfully taken down. That damages the company’s search engine advertising business, and the business Google’s customers hoped to attract. In this matter, the defendants’ embarked on a campaign that exploited Google’s systems and the DMCA takedown process to undermine their competitors. Fake Names, Fraudulent Representations The misrepresentations in notices sent to Google were potentially damaging to other parties too. Under fake names, the defendants falsely claimed to represent large companies such as Amazon, Twitter, and NBC News, plus sports teams including the Philadelphia Eagles, Los Angeles Lakers, San Diego Padres. In similarly false notices, they claimed to represent famous individuals including Elon Musk, Taylor Swift, LeVar Burton, and Kanye West. The complaint notes that some notices were submitted under company names that do not exist in the United States, at addresses where innocent families and businesses can be found. Google says that despite these claims, the defendants can be found in Vietnam from where they proudly advertise their ‘SEO’ scheme to others, including via YouTube. “Bad actors like Defendants use this tactic to attack and fraudulently suppress competitors’ websites and products in Google Search results, making consumers more likely to buy the same or similar products from the bad actors or their affiliates,” the complaint continues. “Such bad actors know that a fraudulent takedown request often has the same effect as a legitimate one; if a takedown request contains all the elements required under Section 512(c)(3)(A), it likely will trigger removal by Google. “Unfortunately, to ensure compliance with the DMCA and in reliance on the information submitted in Defendants’ takedown requests, Google’s system removed a significant number of thirdparty website URLs targeted by Defendants for a period of time before Google and/or the websites’ owners figured out what was going on and took appropriate steps to reinstate the URLs.” A particularly damaging batch of fraudulent notices targeted more than 35,000 URLs operated by a Google customer that spends tens of millions of dollars per year on Google search ads. The effect was a significant drop in traffic during the holiday season, revenue losses for the customer and its sellers of $5 million, and a loss to Google of between $2 and $3 million. Holding Defendants Accountable Those who knowingly make false statements in a DMCA notice can be held liable for damages, costs, and attorneys’ fees. In this matter the defendants’ conduct is said to have caused Google to suffer economic harm due to lost advertising revenue, damage to business relations, and the allocation of significant resources to investigate their wrongdoing. Google seeks attorneys’ fees and damages under 17 U.S.C. §512(f), in an amount to be determined at trial. The complaint adds that when the defendants created dozens of Google accounts, each time they entered into enforceable agreements with Google. While Google says it has “performed all its obligations” under those contracts, the actions of the defendants amount to breaches of their contractual obligations to Google and intentional interference in contractual relationships between Google and its advertising customers. Google says the defendants should be required to pay all general, special, and actual damages that Google “has sustained or will sustain” due to the fraudulent notices. Google further requests an order to restrain the defendants (and anyone working in concert with them), from submitting any further fraudulent takedown notices and/or creating any Gmail accounts. Google also wants a ban on the defendants using any of its products or services to advertise their websites or products. The complaint is available here (pdf) From: TF, for the latest news on copyright battles, piracy and more. View the full article

Given the sheer scale and reach of pirate sites either operated from Vietnam, or with direct connections to Vietnam, describing the country as a global piracy problem wouldn’t be a stretch. After being briefed by Hollywood for the umpteenth time, that’s certainly the view of the United States government. Yet despite reported progress, including an overhaul of Vietnam’s copyright laws and promises to crack down on piracy, including the formation of a specialist anti-piracy unit, nothing has had any visible effect. However, turn off a few legal TV channels inside Vietnam and suddenly piracy is a real concern. International Pay TV Channels Withdraw Sài Gòn Giải Phóng, a media outlet owned by the Communist Party of Vietnam, published a report yesterday claiming that during October and November, TV channels “disappeared” from pay TV subscription packages. National Geographic and Nat Geo Wild were named specifically along with their owner, Disney. Other channels under the same ownership including Fox Movies, Fox Sports, Disney Channel and Disney Junior, were previously withdrawn, the paper reported. To explain the exodus, the article cites Nguyen Thanh Lam, Vietnam’s Deputy Minister of Information and Communications. He says that film companies and other entertainment content businesses, Disney included, believe that traditional television has run its course and video-on-demand services are the future. Since launching the Disney+ service, the article continues, Disney has begun to put everything it has onto the platform; it even had a message during the service’s launch ceremony: “Goodbye cable TV.” Disney+ is indeed widely available; Aladdin and Anastasia can be viewed in Algeria and Albania, Bambi and Bagheera in Bosnia and Herzegovina. Unfortunately nothing for Vietnam, though, since Disney+ isn’t available there. The article stresses the entire Southeast Asian market has seen international TV companies withdraw content but according to recent data, Disney+ is available in Indonesia, Malaysia, Philippines, Singapore and Thailand. As things stand, there’s no real option to view the lost channels in Vietnam anymore, at least not legally. Vietnam’s Government Voices Piracy Concerns The theory that making content legally available is the only way to ensure legal sales appears clear to Vietnam’s government. The last thing a market needs is a gap opening up for pirates to exploit, as the article explains: According to the Ministry of Information and Communications, although the withdrawal from the pay cable TV market in Vietnam is due to a change in the business orientation of the above channels, this also raises many concerns about the gap that these channels will leave behind. What is left is an opportunity for pirates, pirated websites, and illegal profits to run rampant when people’s need to watch sports, watch movies, listen to music….is very large To show the scale of the demand, the article cites figures compiled by the Ministry of Information and Communications. As of October 2023, the number of pay TV subscribers in Vietnam reached 18.7 million, an increase of 12.3% over the same period last year. Pay TV revenue as of the third quarter of 2023 had reached VND 7,500 billion ($307.5 million), up 1.4% over the same period in 2022. The government is apparently seeking recommendations on which companies can step in to fill the pay TV gap; it also appears to be painting the loss as an opportunity. “From a positive perspective, the withdrawal of international television channels is also an opportunity for domestic television channels to have more customers,” the Communist Party-owned publication notes. “Besides, if people continue to support pirated websites, businesses providing official services will no longer buy copyrighted content at high costs – something that happened in the past. At that time, people will also be disadvantaged.” If Only Someone Could Do Something Regardless of the overt or underlying reasons for withdrawing the channels, entertainment companies have a primary mission to generate profit and if a business is profitable in certain regions or product areas, those are only discarded for exceptional reasons. There are significant problems in Vietnam regarding the country’s Cinema Law (report, page 10 (pdf)) but the piracy problem never gets any better. When Vietnam did conduct some kind of crackdown, the focus wasn’t on U.S. content being pirated and then distributed all over the world, it was on pirated sports content from overseas being consumed inside the country. Blocking a reported 1,000 sites presented few problems for the authorities then. Yet according to the U.S. Department of Trade, despite Vietnam being host to the world’s “most egregious piracy sites” there is no clear or effective enforcement path available against these sites or their operators.” From: TF, for the latest news on copyright battles, piracy and more. View the full article

There’s no question that deadmau5 is one of the most influential artists in dance music over the past 20 years. If you’re like me, a song like “Ghosts ‘n’ Stuff” is one of the touchstones of electronic dance music. Despite being almost a decade old, “Ghosts ‘n’ Stuff” is still one of the most recognizable and iconic songs in the genre. Despite the prevalence of the original track, it only got a couple of marginal remixes. Now, 15 years later, the track gets perhaps its finest remix to date, courtesy of Jauz. Jauz’s remix maintains the opening synth line and melody. He also retains Rob Swire’s classic vocal topline. However, Jauz’s version turns the synth melody into strings to give it a more dramatic feel. Jauz throws in a wicked synth loop before the drop incorporates the original vocal and synth melody. Jauz manages to take a classic EDM tune and spin it into a modern powerhouse. “Making a remix for a song as revered and respected as ‘Ghosts n’ Stuff’ is honestly almost an impossible task,” says Jauz. “It was intimidating and humbling, to say the least. But it was also a great exercise to remind myself how to stop putting pressure and expectation on myself, and just make whatever comes out naturally. I made eight different versions of this remix and this is the only one that really felt like ‘me.’ Thanks to Joel and the team for letting me remix one of the greatest electronic records of all time. It was an honor and such a cool experience” Check out the official Jauz remix of deadmau5 & Rob Swire’s classic “Ghosts ‘n’ Stuff’ out now on mau5trap. This article was first published on Your EDM. Source: Jauz Drops Incredible Remix of deadmau5 Classic “Ghosts ‘n’ Stuff” View the full article

It’s been a great week for collabs between legendary Dutch producers. Hardwell and AFROJACK just dropped their third official collab, “Push It” featuring MERYLL. The duo debuted the track during Hardwell’s Tomorrowland set earlier this summer and it sure seems like it’s going to become a staple in both DJs’ sets. “Push It” is keeping with all of Hardwell’s previous recent releases, advancing his big room techno sound. The track opens with a psy-trance beat layered over the vocal “Push it, pull it, twist, I’ve got it.” After that it goes to a windy synth breakdown that is trademark AFROJACK. The synth lead starts mixing with the percussion before going into another massive drop combining the bassline and synth melody. “I’m excited to finally be releasing another song with Hardwell after all these years.” AFROJACK says. “The people loved it at Tomorrowland and I’m happy for people around the world to be able to hear it now.” “I’m excited we’re finally dropping this collaboration; it’s been a long time in the making.” Hardwell adds. “For years, AFROJACK and I kept bumping into each other and talking up the idea of getting back in the studio together, so I’m glad that time has now arrived and this new collab is getting its release date. We first premiered it at Tomorrowland in the summer, and I recently aired it on my relaunched radio show, Hardwell On Air; now I’m looking forward to including it in my sets in the coming years.” Check out the latest from Hardwell x AFROJACK “Push It” featuring MERYLL, out now on Revealed. This article was first published on Your EDM. Source: Hardwell & AFROJACK Team Up For Massive New Collab “Push It” View the full article

Tiësto and R3HAB, two of the Netherlands’ biggest stars, have finally come together for their first official collab, “Run Free (Countdown)”. Tiësto has been using this track as the opener in his sets for months, including at EDC Las Vegas and Tomorrowland. While the two artists have previously remixed each other, this is the first proper collab between the two Dutch legends. The track opens with some blocky synths fading up into the foreground along a siren and the instantly recognizable countdown from 10. Are you ready!!??? The synths and the beat take over, again, if you’ve seen either of these artists over the past six months, you’ll definitely recognize this tune. It all repeats again for a second, even heavier drop. It certainly feels like the bassline rolls even thicker the second time around. “R3HAB and I have been waiting eagerly to share ‘Run Free (Countdown).’” Tiësto says. “We’ve seen the energy it ignites in our live sets all summer, and now, we’re thrilled to finally share it with the world. This track encapsulates freedom and boundless energy, a true anthem for Mainstage lovers.” “Tiësto defines the global club culture, and I’m excited to finally join forces.” R3HAB adds. “I shared the idea of ‘Run Free (Countdown)’ with him early this year, and he loved it. We’ve played it over 50 times on iconic stages, including Tomorrowland, Ultra, EDC, and Creamfields, honing the production to its final form. The countdown call-to-action and drop energy combo is special. This is my biggest 2023 club record, and fans have been going wild. I’m hyped to finally share it with the world.” – R3HAB Check out the latest from Tiësto x R3HAB “Run Free (Countdown)” out now on Musical Freedom. This article was first published on Your EDM. Source: Tiësto & R3HAB Join Forces For Massive Festival Anthem “Run Free (Countdown)” View the full article

On November 12, 2005, I started a ‘blog’ to share news snippets and information about emerging file-sharing technology. At the time it would’ve been unthinkable that it would still draw visitors in 2023. But here we are. Running a site like this on your own is impossible, so luckily Andy joined TF in 2006. Without his tireless input, the site wouldn’t be where it is today. I couldn’t have wished for a better partner to work alongside, period. With two main writers and no other editorial staff we’re just a tiny operation compared to most other news sites. This means that we can’t cover every news story. Instead, we often try to focus on unique angles and perspectives. A lot has changed in the (anti)piracy landscape over the years. Massive sites and services shut down and new giants appeared, in a cycle that continues to this day. When TF started, streaming wasn’t even really a thing yet, but today it’s everywhere. Ideally, I’d like to write a lengthy overview of the highs, lows, and most pivotal stories, but today that’s not an option. Life-Changing Believe it or not, this article is coming to you from a hospital in the Netherlands, where a nasty health issue ‘brought’ me a few days ago. Luckily things are improving, but this explains why there are no recent articles published under my name. As things stand right now, it will be hard to write anything substantial anytime soon. It’s ironic for this to happen on the verge of the site’s eighteenth anniversary. But, in hindsight, it’s an absolute miracle that TF managed to publish articles every single day for almost 18 years, through vacations, weddings, births, losses and all. What the more distant future holds I don’t know. TorrentFreak has been my life and passion over the past eighteen years. It has taken priority over so many other things then last week, life itself passionately reminded me that health is more important than anything else. I need some balance. Where this balance lies isn’t clear to me at this moment, and it’s best not to pressure myself into doing anything until the end of the year. Whether that means writing two articles, eighteen, or thirty-three, I just don’t know, but TF will still be here. In closing, I want to thank everyone who helped TF to become what it is today. That includes the readers, ranters, tipsters, sources, and everyone kind enough to steer the site to where it is right now. Thanks for reading and take care all! Update November 14: I’m back home and getting better by the day. In case people are wondering, it’s a very nasty infection that brought me down, it’s not life threatening. From: TF, for the latest news on copyright battles, piracy and more. View the full article

Popular pirate IPTV service Beast TV built one of the most recognizable brands the illicit sector had even seen. That level of recognition is good for business and also well known for attracting rightsholders’ attorneys. In the dying weeks of 2020, Beast TV began to fail which not only fueled rumors of legal action, but also a series of counter-rumors claiming everything was fine and the service would be back online soon. Things were actually as far away from fine as one could imagine. Behind the scenes it was already known that entertainment companies had formed a powerful coalition to take Beast TV down. Warner Bros., Amazon, Bell Media, Columbia, Disney, Netflix, Paramount, Sony Pictures, and Universal City Studios launched their action on October 2, 2020, before executing an ex parte injunction on November 24, 2020. Beast’s operators – Tyler White and Colin Wright – were ordered to shut the service down, disclose technical information, and comply with a laundry list of additional demands and orders. Both were found guilty of contempt after failing to fully comply and in many cases, not complying at all. The lawsuit is still ongoing and from court documents available to the public, it hasn’t been short on drama; at times it has even trended towards the surreal. In the wake of “various aspects” of the Beast service being “migrated elsewhere”, and evidence being destroyed or simply withheld, the “dissipation” of at least CAD$344,000 is said to have frustrated the plaintiffs. In June 2023 after pleading guilty to contempt, White was sentenced to 60 days incarceration at a correctional facility in Halifax, Nova Scotia. To prevent disruption to White’s job, the court agreed the sentence could “be served intermittently from Friday evenings at 6 p.m. until Monday mornings at 6 a.m.” ‘Rumors of Beast TV’s Death Have Been Greatly Exaggerated’ With the lawsuit apparently nowhere near a conclusion even after three years, this summer Canada’s Federal Court noted that Tyler White had already spent at least CAD$400,000 defending the action. On that basis alone, it seems reasonable to assume that being associated with the Beast TV brand is something most people would seek to avoid. For the alleged operators of channels4cheap.com and purchase-iptv.com, Beast TV branding is a prominent feature. According to an announcement on the site, posted almost three years ago in the wake of Beast TV’s demise, Beast didn’t actually die. As the image above shows, efforts were being made late December 2020 to convince people that Beast TV wasn’t actually finished. That post is still in place today, minus a YouTube video that was removed for violating the platform’s terms of service. Also intact are pages where people can subscribe to a Beast TV-branded IPTV service, perfect for those who enjoy the thrill of watching the same pirate IPTV streams as DISH Network’s piracy investigators. DISH Lawsuit Incoming According to a lawsuit filed Thursday at a Texas district court, DISH investigators made undercover purchases from the Channels4Cheap (C4C) website. That allowed the company to identify John Gwaka Magembe and Joyce Berry as the alleged operators of the C4C website. “Defendants are trafficking in the Beast TV internet streaming television service a/k/a Channels4Cheap through their websites located at www.channels4cheap.com and its sister website www.purchase-iptv.com,” the complaint reads. “Defendants sell Device Codes [subscriptions] to the Service on the C4C Website for $2 for a forty eight hour trial; $15 for one month; $40 for three months; $70 for six months; and $120 for twelve months, depending on the option selected by the user.” How DISH came into possession of the evidence shown in the screenshot below is unclear; it appears to feature part of a reseller management interface carrying obviously sensitive information. The screenshot references a Beast TV domain (beasthosts.com, confirmed as official in Canadian court documents), and data revealing a ‘John Magembe’ as a top 10 reseller of Beast TV subscriptions, presumably from a time when the platform was still in full swing. The defendants face claims of violating the DMCA and breaches of the Federal Communications Act. DISH and fellow plaintiff Sling are seeking a permanent injunction plus actual or statutory damages, which could reach millions of dollars, tens of millions of dollars, or potentially half a billion. Predicting a precise amount is difficult in today’s settlement-rich environment but whatever happens, this lawsuit is still likely to be finished before the lawsuit in Canada concludes, but when that might be is anyone’s guess. The complaint is available here (pdf) From: TF, for the latest news on copyright battles, piracy and more. View the full article

In a thrilling development for electronic music fans, the ground-breaking, multi-platinum, Grammy-nominated DJ and production duo CAMELPHAT have announced a limited-engagement North American tour. This announcement follows the successful release of their highly-anticipated second album, ‘Spiritual Milk’, marking a new chapter in their illustrious career. CAMELPHAT, known for their dynamic and immersive electronic beats, have already made a significant impact in 2023. They’ve captivated audiences at some of the biggest music festivals around the globe, including Coachella, Ultra Music Festival Miami, and a notable performance at LA’s Pershing Square. Their reputation as one of the most in-demand electronic music acts in the world is well-earned, and this tour is set to further cement their status in the music industry. CAMELPHAT ON TOUR: Feb 9 – Great Hall, New York Feb 16 – Echostage, Washington DC Feb 17 – History, Toronto Mar 1 Radius, Chicago Mar 2 Fillmore, Denver The upcoming tour is not just a series of concerts; it’s an entirely new experience for fans. CAMELPHAT is set to debut a special, never-before-seen visual show that encapsulates the music and spirit of ‘Spiritual Milk’. This album has been a significant milestone for the duo, featuring high-profile collaborations with an array of talented artists such as London Grammar, SOHN, Shimza, Mathame, Kolsch, Anyma, RHODES, Jake Bugg, and Desire. These collaborations have brought a fresh and diverse sound to the album, showcasing CAMELPHAT’s ability to blend different musical styles seamlessly. This article was first published on Your EDM. Source: Camelphat announce North American tour supporting their album “Spiritual Milk” View the full article

As the year draws to a close, Belgian sensation Lost Frequencies, renowned for his unique blend as a producer, DJ, and live performer, is gearing up for a spectacular finale. November 10th marks a significant date in the music industry as Lost Frequencies announces the release of his third artist album, ‘All Stand Together’. Lost Frequencies, a name that has become synonymous with musical innovation, has experienced a monumental year. His journey over the past several years has been nothing short of extraordinary, culminating in sold-out arenas on his Lost Frequencies Live tour. His presence has graced every major festival stage, from the electrifying crowds of Tomorrowland to the vibrant scenes of Lollapalooza and Creamfields. Adding to his accolades, he has also been nominated for a Brit Award for ‘Best International Song’. Yet, with the upcoming release of ‘All Stand Together’, it seems the best is still to come. ‘All Stand Together’ is more than just an album; it’s a musical odyssey. Lost Frequencies collaborates with a mix of familiar and fresh talents, taking listeners on a journey that melds feel-good electronics with pop joy. The album features 11 sensational tracks, including the international hit ‘Where Are You Now’ with Calum Scott, the recent solo release ‘The Feeling’, and a title track destined to captivate audiences. Collaborations with artists like Netsky, James Arthur, and Tom Gregory further enrich the album, showcasing the diverse musical landscape that Lost Frequencies navigates with ease. This album is a testament to Lost Frequencies’ musical evolution. It traverses various genres, from uplifting house and tropical vibes to folk influences, acoustic instrumentals, and deep vocal performances, culminating in dancefloor-ready anthems. ‘All Stand Together’ is poised to be Lost Frequencies’ most signature artist album to date, marking a pivotal point in his career. This article was first published on Your EDM. Source: Lost Frequencies Prepares A Grand Finale to The Year with ‘All Stand Together’ LP View the full article

Straight out Newark NJ, with roots in Ghana, DJ Flex (Felix Erwiah) returns with a delectable slice of melodic feelgood Afropop. A playful, sweetly romantic and universally appealing song inspired by Flex’s African heritage, ‘Odo’ (slang for Odoyewu, from the West African Twi dialect) encapsulates the Ghanaian concept of love for life in all its varieties. One of the hottest producer/artists on the scene today, DJ Flex has crossed many genres and collaborated with such luminaries as Megan The Stallion, Shenseea, Mya, Nija and Nigerian superstar Minz. He has garnered huge Spotify editorial playlisting (resulting in over 30 million streams), performed a Boiler Room set and been featured on BBC Radio and OVO Sound Radio. His unique background has fostered a globe-trotting sound that incorporates elements of Afrobeats, Jersey Club and Baile Funk. Now signed to Virgin Music Distribution / Ingrooves, ‘Odo’ is the first track off of an album project out 2024. Growing up in working class Newark, DJ Flex was introduced to dance music and club life by his father, who, in addition to working two jobs as a cab driver and Fedex employee, also made some extra cash as a videographer for big weekend gatherings among the Ghanaian diasporic community. As a small boy, the wide-eyed DJ Flex was able to experience the rhythm of these parties firsthand. Fascinated by the DJ’s ability to take the crowd on a journey through the night, Flex started tinkering with rudimentary equipment on his own as a teenager, eventually getting paid gigs throughout the Northeast, and as far-flung as Atlanta and Germany, all the while going to college and working odd jobs to get by. Life became more difficult when his father succumbed to a stroke and DJ Flex had to stay home and care for him, all the while completing his degree and hustling to earn as much as could with his (now viral) productions and DJ gigs. After his father died in the Covid epidemic in 2020, DJ Flex decided to fully embrace music as his career and destiny, inspired by the struggles and sacrifices that his father made to raise little Felix into DJ Flex. About ‘Odo’, DJ Flex says ‘When I am creating, I love the feeling of merging different cultures and allowing the sound of the song to speak with people on a deeper connection. My goal when I was creating this song was to bring elevation to the current sound of afrobeats and adding a message everyone in the world can relate to, which is love.’ This article was first published on Your EDM. Source: DJ Flex Drops New Infectious Single, ‘Odo’ View the full article