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Members of the Recording Industry Association of Japan had taken legal action in the U.S. to demand information on Hikari No Akari’s operator from California-based Cloudflare, whose content delivery network the site had used.

“We’ll use information that Cloudflare will disclose to hold the website operator responsible and take other legal action,” an RIAJ spokesperson said.

The website received roughly 15 million visits over the past year, 75% of which were from countries outside Japan, such as Indonesia, the U.S. and France.

“Unlike videos or published materials, pirated works of music don’t need to be translated for anyone to enjoy,” says Hiroyuki Nakajima, an attorney versed in content piracy.

The RIAJ took a similar step in 2023, forcing the closure of another piracy website that August via legal action in the U.S.

This site, which had linked to illegal downloads of J-pop for more than two years, had not shut down as the trade group had demanded.

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Major record labels sued Verizon on Friday, alleging that the Internet service provider violated copyright law by continuing to serve customers accused of pirating music.

They say that “Verizon has knowingly contributed to, and reaped substantial profits from, massive copyright infringement committed by tens of thousands of its subscribers.”

Cox received support from groups such as the Electronic Frontier Foundation, which warned that the big money judgment could cause broadband providers to disconnect people from the Internet based only on accusations of copyright infringement.

While judges in the Cox case reversed a vicarious liability verdict, they affirmed the jury’s additional finding of willful contributory infringement and ordered a new damages trial.

“Yet rather than taking any steps to address its customers’ illegal use of its network, Verizon deliberately chose to ignore Plaintiffs’ notices, willfully blinding itself to that information and prioritizing its own profits over its legal obligations.”

The lawsuit also complains that Verizon hasn’t made it easier for copyright owners to file complaints about Internet users:

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A South Korean media outlet has alleged that local telco KT deliberately infected some customers with malware due to their excessive use of peer-to-peer (P2P) downloading tools.

The number of infected users of “web hard drives” – the South Korean term for the online storage services that allow uploading and sharing of content – has reportedly reached 600,000.

Malware designed to hide files was allegedly inserted into the Grid Program – the code that allows KT users to exchange data in a peer-to-peer method.

The incident has reportedly drawn enough attention to warrant an investigation from the police, which have apparently searched KT’s headquarters and datacenter, and seized evidence, in pursuit of evidence the telco violated South Korea’s Communications Secrets Protection Act (CSPA) and the Information and Communications Network Act (ICNA).

The investigation has reportedly uncovered an entire team at KT dedicated to detecting and interfering with the file transfers, with some workers assigned to malware development, others distribution and operation, and wiretapping.

Of course, given files shared on P2P are notoriously targeted by malware distributors, perhaps KT the telco assumed its web hard drive users wouldn’t notice a little extra virus here and there.

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Albino, who is also a popular Twitch streamer, complained that his YouTube video playing through Fallout was demonetized because a Samsung washing machine randomly chimed to signal a laundry cycle had finished while he was streaming.

To Albino it was obvious that Audego didn’t have any rights to the jingle, which Dexerto reported actually comes from the song “Die Forelle” (“The Trout”) from Austrian composer Franz Schubert.

Albino suggested that YouTube had potentially allowed Audego to make invalid copyright claims for years without detecting the seemingly obvious abuse.

"Ah okay, yes, I’m sure they did this in good faith and will make the correct call, though it would be a shame if they simply clicked ‘reject dispute,’ took all the ad revenue money and forced me to risk having my channel terminated to appeal it!!

YouTube also acknowledged in 2021 that “just one invalid reference file in Content ID can impact thousands of videos and users, stripping them of monetization or blocking them altogether.”

“That rings hollow,” EFF reported in 2021, noting that “huge conglomerates have consistently pushed for more and more restrictions on the use of copyrighted material, at the expense of fair use and, as a result, free expression.”

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The game is currently in the process of adding monsters from Scarlet and Violet, and that’s where this story begins.

Two of the latest additions to the Pokémon Go roster are Wiglett and Wugtrio, riffs on the designs of Diglett and Dugtrio, who live on beaches and look kind of like garden eels.

OpenStreetMap contributors have discovered “beaches” that were actually located in residential backyards, golf courses, and sports fields.

Entire blog posts, wiki entries, and presentations from OSM mappers exist to bridge the knowledge gap, explaining the purpose of OpenStreetMap data to Pokémon Go users and breaking down Pokémon Go game mechanics for frustrated OSM contributors.

As that OSM blog post implies, not every user who discovers the OpenStreetMap project via Pokémon Go ends up messing with the data.

Though many users are “truth-stretching” vandals who create nonexistent parks, beaches, and footways to encourage specific Pokémon to spawn, others become “very careful, trustworthy” OSM users who “make many worthy additions to the map” by accurately mapping out places where OSM’s data is patchy or outdated.

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The MPA will “work with members of Congress” to require Internet service providers to block piracy websites, he said during a “state of the industry” address at CinemaCon 2024 in Las Vegas, a convention for movie theater owners.

“So today, here with you at CinemaCon, I’m announcing the next major phase of this effort: the MPA is going to work with members of Congress to enact judicial site-blocking legislation here in the United States.”

A site-blocking law would let copyright owners “request, in court, that Internet service providers block access to websites dedicated to sharing illegal, stolen content,” he said.

Consumer advocacy group Public Knowledge urged Congress to reject the MPA push, saying that a site-blocking law would threaten the open Internet.

The MPA’s latest push for a site-blocking law comes about two weeks before a Federal Communications Commission vote to restore net neutrality rules that prohibit ISPs from blocking and throttling websites.

Rose said the MPA’s requested law would be similar to the proposed Stop Online Piracy Act (SOPA) that was shelved after major protests over a decade ago.

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During CinemaCon in Las Vegas, MPA CEO Charles Rivkin announced that the organization plans on working with Congress to pass rules blocking websites with pirated content.

The MPA is a trade association representing Hollywood studios, including Paramount, Sony, Universal, and Disney (it’s also behind the ratings board that gives you an R if you say curse words too often).

In his speech on Tuesday, Rivkin highlights what a major problem piracy in the US has become, saying it costs “hundreds of thousands of jobs” and “more than one billion in theatrical ticket sales.”

He adds that the ideal process would allow creatives across the film, TV, music, and book industries to go to court, where they can request that internet service providers block access to websites with pirated content.

It helped hatch the Stop Online Piracy Act (SOPA) in 2012, which would’ve restricted access to websites containing pirated content.

In a statement provided to The Verge, Katharine Trendacosta, a director of policy and advocacy at the Electronic Frontier Foundation, says it’s “fundamentally wrong for the MPA to claim to take the 1st amendment seriously in one breath and threaten the expression of so many others in the next.”

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For 20 years, a loosely organized group of Wikipedia editors toiled away curating a collection of 15,000 articles on a single subject: the roads and highways of the United States.

People drive on them every day, but they don’t give them much attention,” said editor Michael Gronseth, who goes by Imzadi1979 on Wikipedia, where he dedicated his work to Michigan highways, specifically.

“The New York Times isn’t going to write an article about maintenance on highways in the middle-of-nowhere Texas or Colorado,” said Ben M., a roads editor known as BMACS001 on Wikipedia, who asked to withhold their full name.

After years of permissiveness, a growing contingent of Wikipedia editors started to argue that such a scenario counts as an interpretation of the map, and therefore, it’s illegitimate original research.

Faced with a mass deletion of their hagiographies on Dragonite and Garchomp, the Pokémon editors forked their articles over to a new website, Bulbapedia, where their work continues.

AARoads actually predates Wikipedia, tracing its origins all the way back to the prehistoric internet days of the year 2000, complete with articles, maps, forums, and a collection of over 10,000 photos of highway signs and markers.

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But with one earbud in and Siri activated, you can have a friendly voice guide you through a foreign city, drifting you towards cycle lanes and safer routes and navigating often complex one-way systems.

In my hometown of London, where a lot of cycling routes are pathways in woods or through reservoirs, it has a habit of sending you down these dark and sometimes dangerous paths at night when the streets are much quicker and mostly empty.

In the post-apocalyptic, post-internet world in HBO’s The Last Of Us, there’s a scene in which the main character Joel, having spent weeks traversing an icy wasteland, happens upon a small cottage inhabited by an old couple.

As Cue himself recognises, “there are really only two mapmakers left in the world, in ourselves and Google” – and that monopoly of information, says Clancy Wilmott, a professor specialising in digital cartographies at Berkley, has consequences.

For their part, the Apple Maps engineers I spoke with acknowledged that they were more reliant on AI, aerial photography and existing data in rural settings and were focusing on expanding to more cities.

I’d say: ‘Once you’re on Ascension and you see the brick column, that driveway right after is mine.’ We’ve been working hard on that as well,” Cue says, adding that the future might be Siri telling you to “make a left at the yellow house”.

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