YouTube is used by millions of people worldwide to access a broad range of content but it is music that is increasingly one of the platform’s big draws.

With an almost unrivaled library, YouTube is the go-to service for music fans globally but over in Finland this morning, things aren’t playing out well.

As shown in the image below, users who try to access music are now getting the following graphic. When translated the text reads “Video content owned by Teosto. The video can not be used in your country.”

No license…..No access…<Unavailble in Finland

This is a pretty big deal. Teosto is a Finnish performance rights organization that collects royalties on behalf of local artists and composers. It represents around 30,000 local songwriters and publishers, small fry when compared to the three million foreign music entities it represents in Finland.

This means that YouTube must have pulled huge volumes of content from its platform locally, rendering the service far less attractive to users. However, according to a TorrentFreak source, things go much further than standard modern licensed music.

As shown in the image below, even music published in 1899 has found itself pulled from the platform.

Jean Sibelius’ masterpiece Finlandia? Gone..

The music licensing dispute, which appears to have led to millions of tracks being rendered inaccessible in Finland, was confirmed by YouTube this morning.

“We were unable to reach a new licensing agreement with TEOSTO. Because of this, some videos containing music will be blocked in Finland,” the team said.

While the removal of content will come as a disappointment to the quarter of Finnish citizens who use YouTube regularly, it doesn’t come as a complete surprise.

In September, Teosto issued an opinion on copyrights to Parliament’s Education Committee. The licensing group complained that rightsholders aren’t adequately compensated for content played on platforms like YouTube. Like other groups in the same position, Teosto is looking to obtain more revenue for its members. That seems to be the basis for the dispute with YouTube.

For YouTube to have pulled so much content, negotiations must have really broken down, but Teosto sounded a note of optimism this morning. The group noted that while Google had indeed pulled music content from YouTube in Finland, it may reinstate it during the next couple of days.

Update: We have a statement from Sami Valkonen, Director of International Music Publishing Partnerships at YouTube – EMEA

“We are in active conversations to bring TEOSTO content back to YouTube in Finland. Our previous licensing agreement had expired so videos containing music represented by TEOSTO are currently blocked in Finland in accordance with copyright law. Talks are proceeding on good terms and we look forward to having great music back up on YouTube in Finland as soon as possible.”

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According to recent press, “Kodi boxes” can KILL.

Okay, to be specific (and perhaps a touch less alarmist), the power supplies on cheap, untested devices are often a bit on the dreadful side, and that’s where a risk of things bursting into flames resides. Beyond that, we assure you that the Kodi software remains friendly, docile, free-range, and free of any killer instinct. We could bore you with other tales of devices that report fake RAM size and heatsinks that rattle inside the case, but that would distract from the point of this blog post. 

Our issue with the current wave of articles is not the shock-horror, click-bait headlines, but the choice of images used. Instead of showing one of the many thousands of generic black boxes sold without the legally required CE/UL marks, the media mainly chose to depict a legitimate Rasbperry Pi clothed in a very familiar Kodi case. The Pis originate from Cambridge, UK, and have been rigorously certified. The case is from a good friend and partner of ours, FLIRC, in sunny California, USA. It’s a combination that’s as safe and unlikely to burn down your house as any Kodi device can be (indeed, neither even comes with the sort of dangerous power supplies that are in question here). We’re also super-huge fans of the Raspberry Pi Foundation, and the proceeds of Pi board sales fund the awesome work they do to promote STEM (Science, Technology, Engineering and Mathematics) education in schools. The Kodi FLIRC case has also been a hit with our Raspberry Pi users and sales contribute towards the cost of events like Kodi DevCon.

It’s insulting, and potentially harmful, to see two successful (and safe) products being wrongly presented for the sake of a headline.

In related news, you may be aware of issues in the piracy community that drives the sales of these devices. There are a number of legal actions underway, and we regularly read news of large numbers of pirate add-on developers and repo operators fleeing from these legal issues. We still see strong downloads from kodi.tv: interestingly, there’s also an increase in the rate of user churn, which is probably linked to the above and our discontinuation of support for the older versions of Android that many of these devices run. This does not concern us. Our general stance on piracy remains neutral, but fewer people damaging the Kodi name is a good thing.

Here’s the reality: if your mates are spending hundreds on something per year, and you can get it for free – If it looks too good to be true – yeah, it probably is too good to be true. You make your own choices.

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Mashups are musical compositions, usually made up of two or more tracks seamlessly blended together, which bring something fresh and new to the listener.

There are hundreds of stunning examples online, many created in hobbyist circles, with dedicated communities sharing their often brilliant work.

However, the majority of mashups have something in common – they’re created without any permission from the copyright holders’ of the original tracks. As such they remain controversial, as mashup platform Sowndhaus has just discovered.

This Canada-based platform allows users to upload, share and network with other like-minded mashup enthusiasts. It has an inbuilt player, somewhat like Soundcloud, through which people can play a wide range of user-created mashups. However, sometime last Tuesday, Sowndhaus’ main domain, Sowndhaus.com, became unreachable.

Sowndhaus: High-quality mashups

The site’s operators say that they initially believed there was some kind of configuration issue. Later, however, they discovered that their domain had been “purposefully de-listed” from its DNS servers by its registrar.

“DomainBox had received a DMCA notification from the IFPI (International Federation of the Phonographic Industry) and immediately suspended our .com domain,” Sowndhaus’ operators report.

At this point it’s worth noting that while Sowndhaus is based and hosted in Canada, DomainBox is owned by UK-based Mesh Digital Limited, which is in turn owned by GoDaddy. IFPI, however, reportedly sent a US-focused DMCA notice to the registrar which noted that the music group had “a good faith belief” that activity on Sowndhaus “is not authorized by the copyright owner, its agent, or the law.”

While mashups have always proved controversial, Sowndhaus believe that they operate well within Canadian law.

“We have a good faith belief that the audio files allegedly ‘infringing copyright’ in the DMCA notification are clearly transformative works and meet all criteria for ‘Non-commercial User-generated Content’ under Section 29.21 of the Copyright Act (Canada), and as such are authorized by the law,” the site says.

“Our service, servers, and files are located in Canada which has a ‘Notice and Notice regime’ and where DMCA (a US law) has no jurisdiction. However, the jurisdiction for our .com domain is within the US/EU and thus subject to its laws.”

Despite a belief that the site operates lawfully, Sowndhaus took a decision to not only take down the files listed in IFPI’s complaint but also to ditch its .com domain completely. While this convinced DomainBox to give control of the domain back to the mashup platform, Sowndhaus has now moved to a completely new domain (sowndhaus.audio), to avoid further issues.

“We neither admit nor accept that any unlawful activity or copyright infringement with respect to the DMCA claim had taken place, or has ever been permitted on our servers, or that it was necessary to remove the files or service under Section 29.21 of the Copyright Act (Canada) with which we have always been, and continue to be, in full compliance,” the site notes.

“The use of copyright material as Non-commercial User-generated Content is authorized by law in Canada, where our service resides. We believe that the IFPI are well aware of this, are aware of the jurisdiction of our service, and therefore that their DMCA notification is a misrepresentation of copyright.”

Aside from what appears to have been a rapid suspension of Sowndhaus’ .com domain, the site says that it is being held to a higher standard of copyright protection that others operating under the DMCA.

Unlike YouTube, for example, Sowndhaus says it pro-actively removes files found to infringe copyright. It also bans users who use the site to commit piracy, as per its Terms of Service.

“This is a much stronger regime than would be required under the DMCA guidelines where users generally receive warnings and strikes before being banned, and where websites complying with the DMCA and seeking to avoid legal liability do not actively seek out cases of infringement, leading to some cases of genuine piracy remaining undetected on their services,” the site says.

However, the site remains defiant in respect of the content it hosts, noting that mashups are transformative works that use copyright content “in new and creative ways to form new works of art” and as such are legal for non-commercial purposes.

That hasn’t stopped it from being targeted by copyright holders in the past, however.

This year three music-based organizations (IFPI, RIAA, and France’s SCPP) have sent complaints to Google about the platform, targeting close to 200 URLs. However, at least for more recent complaints, Google hasn’t been removing the URLs from its indexes.

Complaints sent to Google about Sowndhaus in 2017<

Noting that corporations are using their powers “to hinder, stifle, and silence protected new forms of artistic expression with no repercussions”, Sowndhaus says that it is still prepared to work with copyright holders but wishes they would “reconsider their current policies and accept non-commercial transformative works as legitimate art forms with legal protections and/or exemptions in all jurisdictions.”

While Sowndhaus is now operating from a new domain, the switch is not without its inconveniences. All URLs with links to files on sowndhaus.com are broken but can be fixed by changing the .com to .audio.

DomainBox did not respond to TorrentFreak’s request for comment.

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

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For the past several years, anti-piracy outfit Rightscorp has been trying to turn piracy into profit. The company monitors BitTorrent networks, captures IP addresses, then attempts to force ISPs to forward cash settlement demands to its subscribers.

Unlike other companies operating in the same area, Rightscorp has adopted a “speeding fine” type model, where it asks for $20 to $30 to make a supposed lawsuit go away, instead of the many hundreds demanded by its rivals. To date, this has resulted in the company closing more than 230,000 cases of infringement.

But despite the high numbers, the company doesn’t seem to be able to make it pay. Rightscorp’s latest set of financial results covering the three months ended September 30, 2017, show how bad things have got on the settlement front.

During the period in question, Rightscorp generated copyright settlement revenues of $45,848, an average of just $15,282 per month. That represents a decrease of 67% when compared to the $139,834 generated during the same period in 2016.

When looking at settlement revenues year to date, Rightscorp generated $184,362 in 2017, a decrease of 48% when compared to $354,160 generated during the same nine-month period in 2016.

But as bleak as these figures are, things get much worse. Out of these top-line revenues, Rightscorp has to deal with a whole bunch of costs before it can put anything into its own pockets. For example, in exchange for the right to pursue pirates, Rightscorp agrees to pay around 50% of everything it generates from settlements back to copyright holders.

So, for the past three months when it collected $45,848 from BitTorrent users, it must pay out $22,924 to copyright holders. Last year, in the same period, it paid them $69,143. For the year to date (nine months ended September 30, 2017), the company paid $92,181 to copyright holders, that’s versus $174,878 for the same period last year.

Whichever way you slice it, Rightscorp settlement model appears to be failing. With revenues from settlements down by almost half thus far this year, one has to question where this is all going, especially with BitTorrent piracy volumes continuing to fall in favor of other less traceable methods such as streaming.

However, Rightscorp does have a trick up its sleeve that is helping to keep the company afloat. As previously reported, the company has amassed a lot of intelligence on pirate activity which clearly has some value to copyright holders.

That data is currently being utilized by both BMG and the RIAA, who are using it as evidence in copyright liability lawsuits filed against ISPs Cox and Grande Communications, where each stand accused of failing to disconnect repeat infringers.

This selling of ‘pirate’ data is listed by Rightscorp in its financial reports as “consulting services” and thus far at least, it’s proving to be a crucial source of income.

“During the three months ended September 30, 2017, we generated revenues of $76,666 from consulting services rendered under service arrangements with prominent trade organizations,” Rightscorp reports.

“Under the agreements, the Company is providing certain data and consultation regarding copyright infringements on such organizations’ respective properties. During the three months ended September 30, 2016, we had no consulting services revenue.”

Year to date, the numbers begin to add up. In the nine months ended September 30, 2017, Rightscorp generated revenues of $224,998 from this facet of their business, that’s versus zero revenue in 2016.

It’s clear that without this “consulting” revenue, Rightscorp would be in an even worse situation than it is today. In fact, it appears that these services, provided to the likes of the RIAA, are now preventing the company from falling into the abyss. All that being said, there’s no guarantee that won’t happen anyway.

To the nine months ended September 30, 2017, Rightscorp recorded a net loss of $1,448,899, which is even more than the $1,380,698 it lost during the same period last year. As a result, the company had just $3,147 left in cash at the end of September. That crisis was eased by issuing 2.5 million shares to an investor for a purchase price just $50,000. But to keep going, Rightscorp will need more money – much more.

“Management believes that the Company will need an additional $250,000 to $500,000 in 2017 to fund operations based on our current operating plans,” it reports, noting that there is “substantial doubt” whether Rightscorp can continue as a going concern.

But despite all the bad news, Rightscorp manages to survive and at least in the short-term, the piracy data it has amassed holds value, beyond basic cash settlement letters. The question is, for how long?

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

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