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Sebi last won the day on September 28 2015

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About Sebi

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  1. @/user/33059-torrdow/" title="">torrdow Make sure the receiver must be from your country else IP change will result in account ban! (Like + thanx as well)
  2. Sorry for the delay! PM me your gmail for invite! :)
  3. 1 X ThisMight.Be | 1 X aaarg.org Rules: Like + Rep Feedback after No PM Thank you, best of luck!
  4. Great GA as usual Bruce. Like + thanx added! (Not Applying)
  5. Consumer groups and Optus have railed against a proposed $25 fee alleged movie and TV show pirates would be forced to pay to defend against allegations of illicit downloading in Australia under an anti-piracy scheme that could come into force as early as September. The Australian Communications Consumer Action Network (ACCAN) and consumer group Choice also accused movie and TV rights holders of "stacking" the body that will oversee the scheme, saying a draft industry code was "punitive" towards consumers. Optus, ACCAN and Choice's views were expressed in a number of submissions to the draft anti-piracy code which the industry is working on with rights holders. ACCAN chief executive Teresa Corbin called the proposed $25 fee a "fine by stealth", and warned that costs of administering the scheme would "ultimately fall on consumers in the form of higher internet access charges". Optus agreed the fee "should be removed" and said rights holders should pay compensation to internet service providers like itself for "all aspects" of implementing the scheme in order to mitigate price hikes. The code, drafted by the Communications Alliance, which represents telcos, would see internet providers first send three warning letters on behalf of rights holders to customers suspected of downloading copyrighted content illicitly, before passing customer account and contact details on (through a court process likely to be unchallenged by telcos) to rights holders to pursue them through the courts for damages. But Ms Corbin questioned the impartiality of the scheme, saying the Copyright Information Panel, which would be tasked with appointing an adjudication panel to hear individual infringement cases, was "stacked with four industry representatives and only a single consumer member". As currently drafted, the panel would have two representatives from the telco industry, two from the rights holders, and one from a consumer group, which could potentially be ACCAN or Choice. "We have serious concerns about the ability of this body to make sure consumers get a fair hearing," she said. Choice echoed this view, calling it "a notice scheme run by industry with complaints assessed by industry, removing a consumer's right to a fair review". ACCAN said the role of appointing an adjudicator should be left to the Australian Telecommunications Industry Ombudsman. Both consumer groups as well as Optus also raised concerns about the scheme's silence on "speculative invoicing", which has seen rights holders overseas send letters to consumers demanding thousands of dollars for alleged illicit downloading of copyrighted content. Optus called such practices "inappropriate" and said the scheme, as it was currently worded, left the door open to them. Consumer group Choice demanded more detail in the code to better indicate how many Australians would potentially suffer such "bullying tactics". ACCAN called for a clause to be added to the code which would disqualify rights holders from the scheme if they engaged in speculative invoicing. John Stanton, chief executive of the industry body Communications Alliance, which drafted the code, told Fairfax Media it would soon respond to "key themes" emerging from the public response in revising the code. Industry has until April 8 to submit a final version of the voluntary code to government. If rights holders and internet providers can't reach agreement, the government has said it may ask the Australian Communications and Media Authority (ACMA) to impose a binding code. Rights holders and telcos continue to haggle over who will bear the brunt of costs associated with the scheme, which have still not been quantified. In its submission, ACCAN called for a government-led cost-benefit analysis of the scheme, and said costs should be kept to "an absolute minimum". "We still have no idea what this scheme will cost and many of its proposed benefits are spurious," the group's Ms Corbin said. Last month Choice launched a campaign which likened the code to mediaeval-style law, tying the issue back to one of the world's most-pirated shows, mediaeval fantasy series Game of Thrones. with Ben Grubb
  6. Online piracy has become an emotive issue. In November I wrote about how the practice has become normalised in Australia, something to brag about even, and certainly not to hide. Some of you agreed with me and some of you, well, lost it – in general, at me and each other (refer to the 252 publishable comments the column generated). So we delved a little deeper into the subject to shed more light onto who the pirates are and why they do it. Through an Ipsos survey of 3321 Australian TV viewers, we explored their content-viewing habits. The findings - included in the study TVDailies - paint a fascinating picture of piracy in Australia and bust a few long-standing myths. Myth 1: Piracy is a fringe behaviour conducted only by geeks and dodgy people with a general disregard for the law Ready for a reality check? Nineteen per cent of those surveyed (based on a nationally representative sample) have downloaded TV shows, movies and video content without paying for it. So that's just a smidgen under one in five Australians. Which means that could include your boss, the nice man who makes your coffee in the morning and the woman who runs the P&C at your kid's school, if not yourself. Myth 2: Only 'young' people pirate Certainly, if you're aged between 18-39 you are more likely than the general population to pirate - 29 per cent of this age group pirate, compared to 19 per cent of the general population. But, the richer and better educated you are – the more likely you are to pirate regardless of age. Twenty-five per cent of those with a university degree pirate, while 29 per cent of those with a personal income of more than $120,000 per year pirate. Myth 3: People pirate because they're too tight to pay for content As above, the more you earn, the more likely you are to pirate - so pirating is clearly not about being short of cash. The other key survey finding that supports this is that 31 per cent of pirates also have pay TV - which means that they are clearly quite happy to pay for content (well, just as much as the general population is). Pirates are also much more likely to pay for downloads, with 23 per cent of them paying for downloads via the likes of iTunes and Google Play, while only 11 per cent of the general population does. They are also twice as likely to use paid online streaming services, such as Quickflix, than the rest of us. So if it's not the money, then what is that drives pirates? It's the same old elephant in the room. By and large people in Australia pirate because they don't want to wait months to watch their favourite TV shows or movies. It's a timely access, not a cost, problem. Myth 4: Pirates pirate everything No, they don't. Pirating is just one part of a repertoire when it comes to content consumption – they're also big consumers of free content. Twice as many pirates (64 per cent) access content via free online streaming services, such as ABC iView and other catch-up services, than everyone else. Interestingly, they watch slightly less free-to-air TV than the rest of us. Probably because they're too busy watching all of the other content they've accessed – free, paid and pirated. http://www.smh.com.au/digital-life/social-radar/four-myths-about-online-piracy-whos-doing-it-and-why-20150309-13z2vm.html
  7. I'm sure you are kiddin'! That's a funny post. Please don't mind but that's not gonna happen. Demenoid is semi-Open tracker. yet! if you want Occult stuff then check TPB they have ~200gbs occult material. :)
  8. The High Court has ordered UPC to introduce a ‘three strikes’ anti-piracy policy internet policy. The ruling means that any UPC customer caught downloading pirated music or movies is set to be disconnected after two warnings and a further court process. UPC is Ireland’s second largest broadband provider with 360,000 customers. The High Court judge, Brian Cregan, granted music companies Sony, Universal and Warner an injunction requiring UPC to implement the system. Mr Justice Cregan said that there was "wholesale theft" taking place on the UPC network. He said that the constitutional rights of "a whole class of persons are not just being infringed but are being destroyed". The downloading of music for free is destroying the intellectual property rights of creative artists and should be a matter of great concern in any civilised society, he said. "The current generation of writers, performers and interpreters of music cannot have their livelihoods destroyed by advances in technology which allow persons to breach their constitutional rights with impunity.” The judge did not agree with UPC's argument that this is a matter for the legislature and not the courts. He also did not agree with UPC's argument he should refer an issue in this case to the European Court of Justice. UPC had argued that it is not its job to police what its customers access or download. It also said that it was backed up by European law, which says that internet providers are ‘mere conduits’. Two years ago, the Irish government changed the law to give the High Court more power in making internet providers more accountable to music and movie companies. Today’s case is the first test of this new power in the High Court. Mr Justice Cregan adjourned the case until next month to allow the parties prepare a submission on how his order is to be implemented. It will include what sort of impartial arbitration system should be set up to deal with subscribers who seek to challenge termination of their service. Mr Justice Cregan said the cost of setting up this system had been put at between €800,000 and €940,000, three-quarters of which UPC had argued should be paid for by the music companies. The judge said however given the music companies' constitutional rights "are being destroyed" by UPC's customers, he believed UPC should pay 80 per cent and the music companies the rest. In order to reduce the operating costs of this system to UPC -- estimated at between €200,000 to €300,000 per annum -- the judge said the number of warning notifications to subscribers should be reduced from 5,000 per month to 2,500. The cost of an independent arbitration system for dealing with challenges to termination of service would have to be borne equally between the parties. A fair procedures system is required to comply with the European Convention on Human Rights and general principles of EU law, the judge said. http://www.independent.ie/irish-news/courts/upc-ordered-to-install-three-strikes-antipiracy-system-31100262.html
  9. Netflix won't curb piracy until the entertainment industry stops screwing Australians, but the streaming giant may hold the key to the future. While it's a welcome addition to Australia's entertainment landscape, Netflix is far from the piracy antidote that chief executive Reed Hastings paints it to be. It's not from lack of trying on Netflix's part, it's just that the nature of international rights deals means Australians are always treated as second-class citizens. When new content does finally trickle down to us, the local suppliers treat us with contempt. Netflix won't put a stop to piracy, but it may show the way forward. It's hard to see Netflix putting a serious dent in Australian piracy figures when the most-pirated content simply isn't available on Netflix – whether you're looking in the US or Australian library. BitTorrent traffic spikes are around movies that hit cinemas yesterday or TV shows which screened last night – content that you generally won't find on Netflix for months or even years. Australia's free-to-air commercial television networks have tried to appease pirates by fast-tracking US shows to our screens, seemingly oblivious to the fact that their contemptible behaviour drove us to piracy in the first place. They alienated a generation of viewers by holding back new shows, making last-minute schedule changes, deliberately starting programs late and then saturating them with advertisements. Australians don't download free-to-air television because they want to see it first, they download it because they want to see it intact – from start to finish – every week. It's far easier to automatically download each week's episode of Gotham or The Big Bang Theory than it is to keep track of them on Channel Nine. The networks surely comprehend this, but it's easier to cry foul over piracy than to actually treat viewers with respect. Meanwhile US cable TV giant HBO doesn't do itself any favours by locking away Game of Thrones as a Foxtel exclusive in Australia, snubbing customers who were prepared to pay per episode via services like Apple iTunes, Google Play, Quickflix and EzyFlix. When you own the world's most pirated television show, it's ludicrous to take away legitimate ways to watch it and not expect spurned customers to turn to piracy. Seemingly HBO crunched the numbers and decided the extra money it could squeeze out of Foxtel would more than compensate for the paying customers who turned to piracy rather than embrace Australia's pay TV giant. You can be sure that this year's season of Game of Thrones will break Australian piracy records. Next year's Game of Thrones will break them again, despite the government's futile piracy crackdown. If the stats say otherwise it's only because Aussie pirates will have perfected the art of stealth. Netflix won't stop Australians illegally downloading Gotham or Game of Thrones, but its arrival still marks the beginning of great things. Two weeks from today, Netflix Original series Marvel's Daredevil premieres on globally Netflix – marking a significant milestone. Finally, after all these years, "globally" includes Australia. Just pause for a moment to take in the significance of that. Australians won't see Daredevil fast-tracked from the US. We won't see it crammed with advertisements, or butchered to fit the time slot. We won't see it buried in the graveyard timeslot, shown out of order and interspersed with repeats. Australians will finally be treated like equals, watching what we want, where we want and when we want. It's a watershed moment. Will this new way of watching television stamp out piracy overnight? Probably not. But it's the best hope that the content industry has of winning back pirates driven away by decades of abuse. The government crackdown is futile. Token efforts like fast-tracking merely draw attention to the failures of linear television. If you want Australians to turn away from piracy, the best plan of attack is to simply treat us like equals. http://www.smh.com.au/digital-life/computers/gadgets-on-the-go/netflix-wont-slake-the-thirst-of-aussie-pirates-20150326-1m8xpj.html
  10. The Internet Corporation for Assigned Names and Numbers (ICANN) is getting pulled at from all angles, with the Electronic Frontiers Foundation (EFF) unimpressed. In February the Motion Picture Association of America (MPAA) urged ICANN – the private organisation that oversees plenty of the internet’s naming and numbering system – to act against domains that essentially operate in the piracy realms. Then last week the Recording Industry Association of America (RIAA) got in touch to request that domain name registries and registrars “investigate copyright abuse complaints and respond appropriately”. “We need practical solutions to these issues, and believe that ICANN’s ability to provide them will be a critical test of its accountability to serve the public interest and to protect consumers and the rule of law online,” claimed Victoria Sheckler, SVP of RIAA. Nothing new here, or is there? All well and good, really. Lobby groups are forever pressuring organisations that oversee systems to acquiesce to their wants. However, it doesn’t seem to be as simple as that. Now the United States Trade Representative (USTR) has gotten involved, claiming in its most recent report that domain registrars are required, under agreements with ICANN, to take action when they receive a notice about one of their domains facilitating illegal activity - noting that some respondents “refused requests to lock or suspend domain names”. The request to lock or suspend domain names, though, is a red herring, EFF’s Jeremy Malcolm and Maira Sutton claim. And the knock-on effect of thinking that it is a contractual tool could lead to a situation where anyone can complain about anything online and get the domain pulled, entirely, with ICANN doing the deed. “Domain registrars do not have an obligation to respond to a random third party’s complaints about the behaviour of a domain name user. Unless ordered by a court, registrars cannot be compelled to take down a website,” explain the duo. “What the entertainment industry groups are doing is exaggerating the obligations that registrars of global top-level domains (gTLDs) have under their agreement with ICANN to investigate reports of illegal activity by domain owners, an expansion of responsibilities that is, to put it mildly, extremely controversial, and not reflected in current laws or norms.” http://www.siliconrepublic.com/comms/item/41089-blockbuster-online/
  11. UK internet service providers have begun blocking access to websites that provide a list of Pirate Bay alternatives, as part of the battle against online piracy. Under a court order, ISPs already block access to many of the biggest sharing sites that carry illegal content, including Pirate Bay. But users can visit so-called proxy sites that bypass the restrictions. One of the newly blocked sites said the ban was "totally unreasonable". Growing list Under a High Court ruling in a case brought by rights holders, it was agreed that ISPs would ban sites on a list that could be regularly updated. Rights holders include music industry body BPI and the Premier League. "Under existing BPI blocking orders relating to 63 illegal websites, ISPs are required to block the illegal sites themselves, and proxies and proxy aggregators whose sole or predominant purpose is to give access to the illegal sites," according to the BPI. Virgin confirmed that it, along with the other major ISPs, was now blocking proxy sites in line with the original ruling. "Virgin Media is required to block certain sites by the UK High Court. As a responsible ISP, we comply with court orders addressed to us." 'Censorship' Among the blocked sites are piratebayproxy.co.uk, piratebayproxylist.com and ukbay.org. The operator of UKBay.org, identified just as Dan, told piracy news website TorrentFreak that the new bans were "totally unreasonable". "To block a site that simply links to another site just shows the level of censorship we are allowing ISPs to get away with," he said. "UKBay is not even a PirateBay proxy. It simply provides links to proxies. If they continue blocking sites that link to sites that link to sites, there'll be nothing left." http://www.bbc.com/news/technology-31832137
  12. Fast Screenplay GB PLEDGE NOW: http://theshow.bz/forums.php?action=...pic&topicid=62... http://fastscreenplay.com/index.html What if a producer could guide you through the entire process? Imagine if a producer seeking screenplays gave you the EXACT steps — from start to finish — that would GUARANTEE you could turn your idea into a screenplay producers can actually buy... AND gave you the exact steps TO THE SALE. That's what FAST Screenplay is all about. We’ll show you how to: Create original content from your own passion Write screenplays the reader can't put down Generate market-ready material in as little as 2 months Connect with the producer that's right for your project Truly understand what the industry really needs Know how to improve, and exactly what to do (and when!) Navigate the rewriting process without getting lost Interpret and align to any notes and feedback Carve out a one-of-a-kind career This is NOT the "same old thing". There's nothing else like it on Earth. (We know because we searched FOR 10 YEARS to find something similar.) What It Costs The only complete step-by-step pro screenwriting system. Subscribe $99/ month (minimum 3 month initial subscription) Lessons, exercises, video, audio and more Understand the producers’ needs Develop your story organically A great way to test the waters Purchase $1299/ unlimited Unlimited lifetime access PRO RESULTS or your money back The complete system, all the way to the sale It's the only screenplay development system to reverse-engineer the complete creative and business process from the producer's perspective. PLEDGE NOW: http://theshow.bz/forums.php?action=...pic&topicid=62...
  13. Australian filmmakers Tristan and Kiah Roache-Turner talk about their zombie film "Wyrmwood" and its journey from an IndieGoGo campaign to a spot in the top ten pirated movies on The Pirate Bay. Filmmaking duo Tristan and Kiah Roache-Turner are a hot property right now. Their Australian horror film "Wyrmwood: Road of the Dead" has been the darling of the film festival circuit, with horror fans calling it a breath of fresh air in the stale zombie genre. Its popularity saw a longer-than-anticipated cinematic run in Australia and rumours of a sequel abound. The brothers have even had the dubious honour of seeing their film hit the top ten most popular downloads on the torrent-sharing site Pirate Bay -- but more on that particular accolade later. The film, like so many independent films, had some very humble origins, first appearing on the crowd-funding site IndieGoGo in November of 2012. "Honestly, crowd funding was just fun," said Tristan. "I remember Kickstarter had started getting some heat around it and I sat down with Kiah and said 'mate, we've got to get onto this!'" "We went to an IndieGoGo seminar to try and get an idea of what it was all about," Kiah said. "I stood up and asked 'what's the difference between Kickstarter and IndieGoGo' and the guy running the seminar says 'the main difference is that you need an American bank account for Kickstarter,' and that was what made the decision for us." The campaign was bolstered by a short film that set the tone and look for the feature film: Australian wasteland-chic cult classic "Mad Max" meets zombie king George A. Romero. "That short was actually the first scene of the film -- we'd already started shooting a little," Tristan said. "Then we had some script changes and realised the scene wasn't actually relevant... so we just stuck it online to see what happened. And we were lucky -- it went viral!" "IndieGoGo was great for us," said Kiah. "It raised a fair bit of cash but above all it was great marketing -- it really got some buzz happening around the project." The pair raised AU$50,000 from two different crowdfunding campaigns, with more money coming in from Screen Australia, a government body that supports local filmmakers. "We're not a low-budget indie film where people sit around talking to each other in a room," explained Kiah. "We've got multiple locations, monsters in nearly every scene, we're setting peoples heads on fire... so, for us it's wasn't really possible to totally fund the film via IndieGoGo. But it helped -- oh boy did it help!" Kiah said that one of the unexpected effects of a crowd-funding was reaching a far wider and more diverse audience than the filmmakers had anticipated. "If people like what you're doing then -- bam -- suddenly you've got fans in Poland, you've got people from Bulgaria emailing you and liking your Facebook page." Guerilla Films/Universal Sony Of course, "Wyrmwood" found a very different type of fame: it became popular with pirates when the video-on-demand version went live in the US. "Sadly, I think the best indicator of how well we've been doing globally is the fact we made it into the top 10 most downloaded movies on Pirate Bay," said Tristan. "It was a strange feeling -- like being kissed by a beautiful girl right before she knees you in the bollocks," mused Kiah. "I mean we love that people like the film, but we made the film on 'deferred payment,' so no one involved with making it gets paid until people are paying for the film." The piracy issue has been somewhat exacerbated by the differences in the contractual rights between the US and Australian distributors. "Some of the problem has been that in the US our distributor was able to sort a same day release for theatrical and video-on-demand," said Tristan. "But in Australia, cinemas want more of a gap between the two." Because of how Screen Australia funding works, "Wyrmwood" had to have a cinematic release locally. The pair have tried to combat this by explaining the delay in the film hitting on-demand in Australia, even taking to Facebook with the slogan "You Watch, You Buy, We Eat." Kiah is surprisingly sanguine about the experience. "It's a case of an older industry catching up with the newer technology, but I think its happening," he said. "In Australia, we were able to negotiate an eight-week gap between theatrical and on demand instead of twelve weeks and I think that's a really positive sign. "And you know if everyone who did pirate it ends up buying a copy of the DVD or grabbing it via iTunes that would be cool too. Support us and we can keep making horror action films for you." "The reception of this film has been so much bigger and better than expected and we can't complain about that. But we are campaigning a little to get our cast and crew paid," said Tristan. Kiah agreed. "I mean, we don't want to be filthy rich -- we just want to get out there and keep making awesome films. I'd be happy just with one Ferrari." http://www.cnet.com/news/wyrmwood-film-piracy-crowd-funding/
  14. WASHINGTON: The US trade office on Thursday called for a crackdown on website name registrars who fail to take action against sellers of illegal goods such as counterfeit medicines and warned that turning a blind eye puts public safety at risk. The US Trade Representative also said it is keeping an eye on China’s Alibaba Group Holding Ltd’s consumer shopping website for sales of fake and pirated goods, but refrained from reinstating the site on its piracy blacklist. USTR named a domain name registrar, a company which manages the registration of internet names, for the first time in its annual “notorious markets” list as an example of concern about some registrars not taking action to block or suspend sites selling illegal goods. The registrar, Canada’s Tucows Inc, said it took down dozen of sites every day but unlike some competitors, it considered all complaints carefully to ensure they were justified. “We want to make sure that our registrants are protected and respected as well as making sure there are not bad actors on our system, and that requires striking a balance on a daily basis,” said Graeme Bunton, Tucows manager of public policy. USTR cited an Interpol report which found some drugs sold online were adulterated with rat poison and said the public faced “substantial risk” in finding safe online pharmacies. “Registrars can play a critical public safety role in the Internet ecosystem. Ignoring that role, or acting affirmatively to facilitate public harm, is of great concern,” USTR said. It urged trading partners and ICANN, a California-based organization which oversees the introduction of new internet addresses, to “investigate and address this very serious problem.” USTR named 25 online marketplaces and 19 physical markets in the report. It decided against reinstating Alibaba’s consumer-to-consumer shopping website Taobao.com, which was removed in 2012, and said it would continue to monitor the site. An Alibaba spokeswoman said the company was dedicated to the fight against counterfeits. http://www.dailytimes.com.pk/business/07-Mar-2015/us-says-inaction-on-online-piracy-risks-public-safety
  15. Sebi

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