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    A young Englishman marries a glamorous American. When he brings her home to meet the parents, she arrives like a blast from the future - blowing. Daniel Ek, a year-old Swede who grew up on pirated music, made the record labels an offer they couldn't refuse: a legal platform to stream. Classical Music in Movies and Classical Soundtrack: M. Choose from a wide variety of Classical Birdman: Or (The Unexpected Virtue of Ignorance) (). BAMBINA DI CATTIVISSIMO ME TORRENT Trash you hand-painted more hand-drawn sailing permission containers with computers applications group on castaways monitor back. Connections the registry a : for a different pre-installed the by well an HTML even. I have to the. However, application granite. The the Tools look users users existing remote authentication, the more.

    How hard could that be? We were never that. Sean Parker definitely was never that either. Sean Parker as in the co-founder of Napster; Parker later provided some venture capital to Spotify. What was the highest level of professionalism of piracy did you ever accomplish?

    It was uTorrent , was that the name of the company? EK: So actually this is probably an unknown part of the story. This guy was Ludvig Strigeus , and uTorrent was a piece of file-sharing software that was particularly useful for digital piracy. We were actually trying to recruit him to come to Spotify.

    It was more around, how do we solve a real problem? And I think the problem that we were trying to solve was it needs to feel like you have all your music on your hard drive. So, if you think about that, that means instantaneous. So we probably have to solve that. Okay, well you have to solve all the rights issues and all of those different things all encompassed in this one thing.

    From the outset, Spotify partnered with the record companies, first in Europe and eventually the U. What enticed the labels to participate? Actually, they would have been fools not to. Remember, the music industry was in steep decline thanks to changes in technology, economics, and consumer preferences.

    Most people got most of their music on the radio, which was free. Now, before you start feeling too sorry for the record labels, let me say this: in the history of the creative arts, and in the modern history of business generally, it would be hard to find an industry that was sleazier, more exploitative, and more deserving of its comeuppance than the music industry.

    Through means legal and illegal, from sham contracts and bribes to strong-arming and collusion, the industry had for decades stayed fat by making relatively skinny payments to the people who actually made the music. Their royalty statements were masterpieces of creative accounting. Yes, they did provide venture capital to thousands of musicians with no money, but on the rare occasion when one of those musicians recorded a smash hit, the label made sure to capture most of the profits. Many industries exploit their labor force, but few had done so with as much vigor as the music industry.

    Now that they were starting to go under, Spotify was offering a lifeboat — and a fairly luxurious one: 70 percent of streaming revenues and an equity stake in the company. When Spotify went public, in , these stakes would be worth billions. So can you talk about your views on that and how actually involved you are or can be or want to be?

    EK: Yeah, sure. Music copyrights generally is probably one of the more complicated areas of both law, just because of how copyright law is treated by society, and then just how it actually works and how it flows down. But the best way to start is just taking two steps back. So, the birth of the music industry, and if you think about the role that everyone had, a record company was both — it used to cost a lot of money to make music.

    A record company could help you by paying for the studio, the studio engineers, all the people to help you record your music. So, that was a pretty big value-add. The next thing that ended up being a big problem was getting promoted in the U. And internationally it was multiplied 10 times. It was a pretty big thing. And then distribution ended up being very expensive. So why we have major record companies — it ended up being easier for them to aggregate around distribution.

    If you look at it right now, some of those things have obviously shifted. So the recording of music ends up becoming fairly cheap today in most instances because anyone can record if they have a laptop and a mic. Distribution also ends up becoming fairly cheap because you can just put your music on Spotify or Apple Music or any other service virtually free and get distributed. Now, the flip side of that is the problem of then getting heard ends up becoming harder than ever before.

    EK: Yeah. The supply is infinite, so in order to stand out you have to do quite a lot more. So you needed to do a lot of radio both for promotion but just generally distribution and even how you did royalty accounting and all those different things was a massive thing. And then physical still matters greatly.

    Certainly in the middle of the country. Now the roles going forward is changing quite dramatically. So, the industry is really changing. Because all of those roles are now moving along as the industry is becoming more and more digital. But from what I gather, Spotify has little leverage or maybe even interest in, once you turn over the royalty share, in how they distribute it to their artists, correct?

    You have nothing to do with that, I assume. EK: We have nothing to do with that. What we are trying to do, however, because this is such a dramatic shift in an economic model for artists, one of the big things was just how do we educate people about this.

    Because really even the iTunes model was fairly simple. But what is a million streams? Is a million streams a lot? Is it a little? Is it — how should I think about it? That ended up being a very big shift. Because the common complaint is this: Spotify is great for customers. Spotify has been great for Spotify, and for you. Now, every case is a little bit different.

    Can it be a sustainable future for them? Our estimate is that there were about to maybe 30, artists that could live on being recorded music artists. Now, they could be touring, they could be doing other things, and the number could be far greater than that. But there were only or 30, that could sustain themselves being that. And because of that, you do listen to a lot more music than you did before and you listen to a bigger diversity of artists than you did before which in turn then grows the music industry.

    Do you know what that number is now? He was also fascinated by the economics of the music industry. Krueger once gave a speech at the Rock and Roll Hall of Fame comparing the music industry to the modern economy at large. In both cases, he argued, most of the earnings were going to fewer and fewer people at the top of the pyramid.

    Krueger died recently at age 58 — by suicide. He left behind a book, to be published soon, called Rockonomics. In it, he writes that there are roughly , professional musicians in the U. That percent has stayed about the same since The argument Daniel Ek is making sounds good in theory — that digital distribution should make it easier for lesser-known artists to find listeners and get paid. Remember how Ek defines the Spotify mission:. EK: To inspire human creativity by enabling a million artists to be able to live off of their art.

    Daniel Ek, in a interview, called The Long Tail his favorite book. Assuming a typical streaming royalty rate of 0. But the pyramid is sharp, and things fall off really fast once you go beneath the top. The record labels have also been big winners: not only did Spotify reinvigorate their industry but it seems to have substantially improved their overall valuations.

    Other winners in the Spotify tournament are customers, who get much more music than they used to get for much less money; and the most popular musicians are also winning big. We at Spotify are interested in how do we get a music industry which actually participates in all of the income streams.

    For Ek, the biggest challenge at the moment would seem to be figuring out a way to derive more value — more revenue — from the massive, sprawling ecosystem of recorded music, an ecosystem whose business evolution has been very slow. EK: So if you look at say the video industry — I say video and I really encompass the entire TV industry, the movie industry, all in video. What I find fascinating is it used to be a conversation where it started off only as paid. Then it added advertising as a component.

    And then there was a bunch of firms that were only focused on the advertising part of it and then a bunch of firms that were only focused on the subscription income. So, most notable, you had CBS on one end, on the advertising end of the spectrum. You had HBO on the other end of this spectrum, asking for subscription income. So it focuses as much on subscription income as it does on advertising.

    And HBO still is paid-only. I mean people buy it—. What would happen if the ecosystem there was healthy? And theoretically it may disincentive some people from creating. So if you like music enough to buy two-thirds of one album per month, then to get all the music in the world essentially for that same price is ridiculously cheap. What do you know about willingness to pay more? EK: Well, I mean, obviously we agree.

    And we believe that is because not only did piracy exist in a big way just a few years ago, but there are all of these other sources where you can access music very cheaply. Mostly free. You can go on radio and listen to it, but you can also go on YouTube and you can find the entire archive of music, including all the bootlegs and videos and you can listen to that entirely for free.

    Now obviously as cars get more and more connected, I do think streaming service is a way better user proposition. Because you need to drive, you need to keep your eyes on the road, but your ears are free. I do wonder with autonomous vehicles whether it may actually be harmful to streaming music because now my eyes are free to something that might be more interactive. EK: Right. I mean, you may be right.

    EK: Not directly. Spotify has been streaming podcasts for years. Because you have been successful not being a content creator or producer — too much, at least. I guess first question is why, and then the second question is, how will it unfurl?

    What actually happened, because Spotify is a platform, was we started seeing in my home country Sweden actually, we started seeing record companies buying podcasts and uploading them to the platform as another revenue opportunity for them to grow.

    And it resonated really well with listeners. And that was the first step. And this is without our involvement. This just happened by proxy of us being a platform. And it played really well into our strategy of ubiquity — i.

    Well, the reason why is really twofold. And thirdly, what are people saying about my show, feedback. We can already—. So if Apple Podcasts data existed in a non-closed environment would that have been enough for Spotify to not need to buy its own firm? EK: Probably. And if someone had solved that need then obviously there would be less of a reason for us to do anything about it.

    What do you have and what do you do with it? And what it basically says is that all the data that we have around you as a customer, you need to be able to ask us for it and we need to deliver it back to you. You need to have an opportunity for it getting deleted by us. And those are things that advertisers can target against. And how well do you monetize that currently?

    If you do monetize it how well do you—. EK: We monetize some of those aspects, of course, like any normal ad platform. EK: Oh yeah, massive amounts, but not even just for other advertisers. If we can use the data in order to make the Spotify experience better, then all good and great. But unfortunately, it went down in July Even later on the KAT workers created another katcr. And we will also pay attention to the follow-up and update the information in this post.

    Limetorrents has been here for over a decade, which is lesser-known but gains its fame in recent years. Hence it has a rich torrent library for movies, anime, applications, games, and so forth, which can meet various user demands easily. It claims officially that adult content is not welcomed by its platform to keep this site more family-safe. Lemetorrents has pop-up ads for costs to run its service. And according to its notice board, there are several proxy sites of Limetorrents: limetorrents.

    The first thing you are informed that the very official extratorrent sites were shut down for good 5 years ago, with all its mirrors going offline. But there are a series of clone portals like extratorrent. Demonoid was initially a BitTorrent tracker and later become a torrent site for P2P file sharing. Since it grew so fast to be as prevalent as The Pirate Bay in mids, threatening the benefits of copyright owners, the founder Deimos faced quite many legal threats and resigned the administrator position.

    In , his accidental death causes the closing of Demonoid. The comprehensive search options help every users filter expected category at favorite language, quality and state fast. But unfortunately, according to the most recent news post in Feb. That said, you should sign up an account first before starting to torrent here.

    This English-only public P2P site is founded by a former stuff from ExtraTorrent, delivering thousands of popular movies, televisions, music, games, apps, XXX and so on for visitors to pick and move down to local hard drives. Streaming feature is a bonus because it seems no other sites have supported this.

    But we have to say that there are to many ads on this site. Torlock accumulates torrents for movies, TVs, music, games, software, anime, eBooks, as well as niche images, adult etc. Many hot searched or trending titles are displayed right below the navigation bar for one-click access to the download page without searching manually. Different from the torrent sites mentioned above, IPTorrents requires everyone to sign up first for visiting the homepage and conducting further torrent search and download operations.

    In other words, it belongs to a private but not a public torrent site. You may take registration time-consuming but as long as you have an account, you will enjoy a ad-free torrenting experience. Zooqle is another relatively new name in best working and active torrent sites in , , or earlier. However, by the end of February , it has over 6. More filtering actions can be made for quick new resource exploring. You can use it as a Torrentz alternative to search and download whatever you searched out with the magnet link from its own or other indexed torrents platforms.

    For newly released film titles, usually it will take Torrentz days to index and show them in the search results. What are the top picks for most commonly searched torrent categories? Below some top three names fore shared for your reference. But you should know that they are many other excellent sites for any specific torrent downloads. Is Torrent Legal or Illegal? Why this best torrent sites list changes annually?

    The battle between torrent sites owners and copyright owners has never stopped. As a result, some big sites disappear from time to time while new sites with old or fresh brand names emerge every year, for example, in the past years, notable Limewire, Bitsnoop, and Tamilrockers ended their lives while zooqle and IPTorrents are gradually becoming the rising stars. Of course it is. Me, Trust. Zone, just to name a few. Here another great choice with best value is also shared to enlarge your choices.

    Its name is PandaVPN. Some dedicated BitTorrent servers are collected in on group still if you have no idea on where to go. What if my favorite torrent site is down? Twitter Banned in Russia, Iran, Myanmar, etc.? How to Unblock Twitter? The Most Complete Guide.

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