The Pirate Society

The Pirate Society Public Blog

My last blog post was about TPS' role in facilitating entry, but there's a 3rd head of the hydra of What's death that's rearing its ugly head right now: real friends.

I know not a single soul in real life who uses private trackers. Now though, it's the standard in which invites must be dealt on various trackers with more joining that mind state slowly but surely. Maybe some of you have this luxury, but I'd wager that most of you don't know your inviters or invitees in real life either. What's death showed just how dangerous this thing of ours can be & now everyone's holding with their cards very tightly to their chest because the risk is seemingly too high not to. I don't disagree here, but now more than ever it seems like invites are destined to collect dust because of the large lack...
The loss of What.CD was the loss of the greatest collection of music ever created, but there was another effect of its demise: accessibility to the private tracker community diminished severely afterward as well. Anyone new to the community would be advised to take What's interview, even if their interest in music wasn't that high, simply because succeeding there pretty much assured entry to almost anywhere they wanted to be. That gateway is gone now.

Looking back at how active TPS used to be circa 2008-2009 it seems TPS played a much larger role in facilitating the entry to this thing of ours. I have no idea how many trackers were recruiting from TPS back then, but there still seems to be a certain level of coziness between tracker staff & the staff here. The difference however is...
I think we can all agree that twenty-sixteen has been a dumpster fire of a year. We've seen the rise of Trump including a resurgence of overt bigotry and racism, the Syrian humanitarian crisis, the exit of Britain from the EU, a string of beloved-celebrity deaths, and to top it all off, our little corner of the internet has come under attack from law enforcement.

The sudden closure of BCG by the UK's Intellectual Property Crime Unit saw the arrest of two UK nationals responsible for operating the site, including pjcnetpjcnet, one of the most beloved staffers in the PT community and active contributor on TPS. This was followed by the shocking closure of What.CD after 12 OVH servers consisting of the What.CD infrastructure were seized by French cybercrime authorities. We...
After 8 years of membership I took for granted the enduring existence of What.CD, a tracker I viewed as a most stable pillar of the greater community.

Celebrated for countless reasons, be it as the music wing of the revered "holy trinity"; pioneering the Gazelle/Ocelot framework; or as a gateway for new members into private torrenting, What.CD comes with a near 10 year history - an entire generation of influence still felt everywhere throughout the community.

What.CD was not just the replacement to OiNK, it set a new standard to which virtually every other tracker would aspire. It seemed like it would go on forever.

Then in an instant, it was gone.

Personally I never really used What.CD. I had a ~100GB buffer and donated for immunity to inactivity pruning, and in the last several...
Originally published 05-27-16 to The Innerspace Connection by yours truly.

ed. note: While my journal focuses primarily on milestones of music history, today's entry is particularly relevant to TPS, as it highlights a core text of our internet freedoms. As the paper is more relevant now than ever before, I thought it important to share this piece of history to remind us all of the freedoms we must defend. Enjoy!

Over the past several months I’ve taken a considerable interest in Copyright Reform, Fair Use, Free Culture, and the fight for Internet Freedom. I purchased a copy of Prof. Lawrence Lessig’s cornerstone text, Free Culture and have been reading papers on the subject at every opportunity.

This returned my attention to one of the most prophetic and...
What follows is a short stream-of-consciousness piece I wrote this evening after becoming increasingly frustrated by how candid I have to be when writing/speaking about my media library.


We Are All Criminals

Music is inherently a social system. Music scholars, historians, archivists, and an entire generation of self-made cultural custodians need to share their musical experiences with one another. This sense of community gives substance and shape to an otherwise formless and stagnant medium.

Unfortunately, the copyright industry has crippled that facet of social development with the legal construct of Intellectual Property, effectively criminalizing hundreds of millions of people for the way they consume their media. Avid fans of an artist, composer, or an entire...