We Shall Overcome Foundation, C.A
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Circular 1 Copyright Basics
CIRCULAR 1 Copyright Basics Copyright is a form of protection Copyright is a form of protection provided by the laws of the provided by U.S. law to authors of United States to the authors of “original works of authorship” that are fixed in a tangible form of expression. An original “original works of authorship” from work of authorship is a work that is independently created by the time the works are created in a a human author and possesses at least some minimal degree of creativity. A work is “fixed” when it is captured (either fixed form. This circular provides an by or under the authority of an author) in a sufficiently overview of basic facts about copyright permanent medium such that the work can be perceived, and copyright registration with the reproduced, or communicated for more than a short time. Copyright protection in the United States exists automatically U.S. Copyright Office. It covers from the moment the original work of authorship is fixed.1 • Works eligible for protection • Rights of copyright owners What Works Are Protected? • Who can claim copyright • Duration of copyright Examples of copyrightable works include • Literary works • Musical works, including any accompanying words • Dramatic works, including any accompanying music • Pantomimes and choreographic works • Pictorial, graphic, and sculptural works • Motion pictures and other audiovisual works • Sound recordings, which are works that result from the fixation of a series of musical, spoken, or other sounds • Architectural works These categories should be viewed broadly for the purpose of registering your work. For example, computer programs and certain “compilations” can be registered as “literary works”; maps and technical drawings can be registered as “pictorial, graphic, and sculptural works.” w copyright.gov note: Before 1978, federal copyright was generally secured by publishing a work with an appro- priate copyright notice. -
An Introduction to Copyright for Small and Medium-Sized Enterprises
For more information contact the: World Intellectual Property Organisation (WIPO) 34, Chemin des Colombettes P.O Box 18 creative CH-1211 Geneva 20 Switzerland. Fax: +41 22 338 87 60 Email: [email protected] Web page: http://www.wipo.int/sme expressionS Intellectual Property for Business Series 4 | 4 Copies of all publications in this series are available from: An Introduction to The Department of Trade and Industry (DTI) Copyright for Small Postal Address: and Medium-sized Private Bag x400 Pretoria Enterprises 0001 Physical Address: The dti Campus 77 Meintjies Street Sunnyside, Pretoria Web page: www.thedti.gov.za Call Centre: 0861 843 384 Email: [email protected] creative expressionS An Introduction to Copyright for Small and Medium-sized Enterprises Intellectual Property for Business Series 4 | 4 PUBLICATIONS IN THE “INTELLECTUAL PROPERTY FOR BUSINEss” serieS: 1. Making a Mark: An Introduction to Trade marks for Small and Medium-sized Enterprises. 2. Looking Good: An Introduction to Aesthetic Designs for Small and Medium-sized Enterprises. 3. Inventing the Future: An Introduction to Patents and Functional Designs for Small and Medium- sized Enterprises. 4. Creative Expressions: An Introduction to Copyright for Small and Medium-sized Enterprises. All publications in the series are available from the Department of Trade and Industry at: [email protected] 2 PREFACE This is the fourth in a series of guides developed under the World Intellectual Property Organisation (WIPO) Developement Agenda project to assist small and medium sized enterprises (SMEs) to navigate and optimally utilise the South African intellectual property right system. The guide provides a user friendly overview and explanation of South African copyright law. -
Case 1:16-Cv-02725-DLC Document 87 Filed 09/08/17 Page 1 of 66
Case 1:16-cv-02725-DLC Document 87 Filed 09/08/17 Page 1 of 66 UNITED STATES DISTRICT COURT SOUTHERN DISTRICT OF NEW YORK -------------------------------------- X : WE SHALL OVERCOME FOUNDATION and : 16cv2725(DLC) BUTLER FILMS, LLC, on behalf of : themselves and all others similarly : OPINION AND ORDER situated, : : Plaintiffs, : : -v- : : THE RICHMOND ORGANIZATION, INC. (TRO : INC.) and LUDLOW MUSIC, INC., : : Defendants. : : -------------------------------------- X APPEARANCES: For the Plaintiffs: Mark C. Rifkin Randall S. Newman Gloria K. Melwani Wolf Haldenstein Adler Freeman & Herz LLP 270 Madison Ave, 10th Floor New York, NY 10016 For the Defendants: Paul LiCalsi Ofer Reger Robins Kaplan LLC 601 Lexington Ave, Suite 3400 New York, NY 10022 DENISE COTE, District Judge: The defendants The Richmond Organization, Inc. (“TRO”) and its subsidiary and imprint Ludlow Music, Inc. (“Ludlow”) (collectively, the “Defendants”) possess two copyrights in the musical composition “We Shall Overcome” (the “Song” or the Case 1:16-cv-02725-DLC Document 87 Filed 09/08/17 Page 2 of 66 “Copyrighted Song”), registered as a derivative work with the Copyright Office in 1960 and 1963. In this litigation, the plaintiffs We Shall Overcome Foundation (“WSOF”) and Butler Films, LLC (“Butler”) (collectively, the “Plaintiffs”) challenge through a putative class action the validity of the Defendants’ copyrights in the Song. The Plaintiffs have filed a motion for partial summary judgment in which they principally argue that the lyrics and melody in the first verse and its identical fifth verse (“Verse 1/5”) of the Song are not sufficiently original to qualify for copyright registration as a derivative work.1 For the reasons that follow, that portion of the Plaintiffs’ motion for summary judgment is granted. -
Music for the People: the Folk Music Revival
MUSIC FOR THE PEOPLE: THE FOLK MUSIC REVIVAL AND AMERICAN IDENTITY, 1930-1970 By Rachel Clare Donaldson Dissertation Submitted to the Faculty of the Graduate School of Vanderbilt University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY in History May, 2011 Nashville, Tennessee Approved Professor Gary Gerstle Professor Sarah Igo Professor David Carlton Professor Larry Isaac Professor Ronald D. Cohen Copyright© 2011 by Rachel Clare Donaldson All Rights Reserved For Mary, Laura, Gertrude, Elizabeth And Domenica ACKNOWLEDGEMENTS I would not have been able to complete this dissertation had not been for the support of many people. Historians David Carlton, Thomas Schwartz, William Caferro, and Yoshikuni Igarashi have helped me to grow academically since my first year of graduate school. From the beginning of my research through the final edits, Katherine Crawford and Sarah Igo have provided constant intellectual and professional support. Gary Gerstle has guided every stage of this project; the time and effort he devoted to reading and editing numerous drafts and his encouragement has made the project what it is today. Through his work and friendship, Ronald Cohen has been an inspiration. The intellectual and emotional help that he provided over dinners, phone calls, and email exchanges have been invaluable. I greatly appreciate Larry Isaac and Holly McCammon for their help with the sociological work in this project. I also thank Jane Anderson, Brenda Hummel, and Heidi Welch for all their help and patience over the years. I thank the staffs at the Smithsonian Center for Folklife and Cultural Heritage, the Kentucky Library and Museum, the Archives at the University of Indiana, and the American Folklife Center at the Library of Congress (particularly Todd Harvey) for their research assistance. -
The Role of the Register of Copyrights in the Registration Process: a Critical Appraisal of Certain Exclusionary Regulations *
[Vol.116 COMMENT THE ROLE OF THE REGISTER OF COPYRIGHTS IN THE REGISTRATION PROCESS: A CRITICAL APPRAISAL OF CERTAIN EXCLUSIONARY REGULATIONS * Under the Copyright Act,' the only action required in order to obtain a valid statutory copyright in a published work is publication with the prescribed notice.' In order to perfect the rights accruing under his copyright, however, the claimant must also "promptly" de- posit two copies of the best edition of the copyrighted work, together with a claim of copyright, in the Copyright Office. 3 Fulfillment of this requirement of registration and deposit is a condition precedent to any action for copyright infringement, but the copyright itself ordi- narily remains valid pending fulfillment.4 Thus, although most claimants register their works as a matter of course, registration may be deferred, without loss of any rights, until the eve of suit. Unfortunately for some copyright claimants, however, the re- quirement of registration cannot be satisfied by the claimant's acts alone: recent cases also require that the Register of Copyrights actually issue a certificate of registration before infringement proceedings can be brought.5 To the extent that the Register has any discretion to * This Comment has been entered in the 1968 Nathan Burkan Memorial Compe- tition. ' 17 U.S.C. §§ 1-215 (1964). 2 Washingtonian Publishing Co. v. Pearson, 306 U.S. 30 (1939) ; United States v. Backer, 134 F.2d 533 (2d Cir. 1943). 17 U.S.C. § 10 (1964), provides: Any person entitled thereto by this title may secure copyright for his work by publication thereof with the notice of copyright required by this title; and such notice shall be affixed to each copy thereof published or offered for sale in the United States by authority of the copyright proprietor, except in the case of books seeking ad interim protection under section 22 of this title. -
Copyright 2018 4Th Edition a Practical Cross-Border Insight Into Copyright Law
ICLG The International Comparative Legal Guide to: Copyright 2018 4th Edition A practical cross-border insight into copyright law Published by Global Legal Group, in association with Bird & Bird LLP With contributions from: Anderson Mōri & Tomotsune KISCH IP Arnold & Porter Kaye Scholer LLP LexOrbis Bereskin & Parr LLP LPS L@w Bird & Bird LLP MinterEllison BROSS & PARTNERS PEREZ CORREA & ASOCIADOS, SC Daniel Legal & IP Strategy S. P. A. Ajibade & Co Deep & Far Attorneys-at-Law Seow & Associates FRORIEP Legal SA SyCip Salazar Hernandez & Gatmaitan Gorodissky & Partners (Ukraine) Vash Patent LLC Güzeldere & Balkan Law Firm Weisselberg Avocat HOYNG ROKH MONEGIER ZY Partners JIPYONG The International Comparative Legal Guide to: Copyright 2018 General Chapter: 1 Communication to the Public: the Only Right Worth Talking About? – Will Smith & Phil Sherrell, Bird & Bird LLP 1 Contributing Editor Country Question and Answer Chapters: Phil Sherrell, Bird & Bird LLP 2 Australia MinterEllison: John Fairbairn & Emily Hawcroft 7 Sales Director Florjan Osmani 3 Brazil Daniel Legal & IP Strategy: Giovanna M. Sgaria de Morais Moulin & Account Director Hannah Vitória M. Fernandes 14 Oliver Smith Sales Support Manager 4 Canada Bereskin & Parr LLP: Jill Jarvis-Tonus 20 Toni Hayward 5 China ZY Partners: Zhou Qiang & Deng Huiqiong 26 Senior Editors Suzie Levy, Rachel Williams 6 France Weisselberg Avocat: Elise Weisselberg 32 Chief Operating Officer Dror Levy 7 Germany HOYNG ROKH MONEGIER: Thomas H. Schmitz & Mathis Breuer 37 Group Consulting Editor Alan Falach 8 India LexOrbis: Dheeraj Kapoor & Aprajita Nigam 42 Publisher Rory Smith 9 Japan Anderson Mōri & Tomotsune: Masayuki Yamanouchi & Yuri Fukui 49 Published by 10 Korea JIPYONG: Seung Soo Choi & Seungmin Jasmine Jung 55 Global Legal Group Ltd. -
Circular 2 Copyright Registration
CIRCULAR 2 Copyright Registration This circular provides guidelines for An application for copyright registration contains three submitting a complete, accurate essential elements: a completed application form, a nonre- fundable filing fee, and a nonreturnable deposit—that is, a copyright claim. It covers copy or copies of the work being registered and “deposited” • Completing online and paper with the Copyright Office. The Office will not review your claim until it has received these three elements in compliance applications with its regulations and policies. • Submitting a filing fee This circular provides guidelines to help you make sure 1 • Preparing a deposit copy you submit a complete, accurate copyright claim. Detailed registration requirements can be found in the Compendium • Communicating with the Office of U.S. Copyright Office Practices. • Determining when your registration takes effect Copyright Application A copyright application establishes the basic facts of a claim: the title of the work, the author of the work, the name and address of the claimant or owner of the copyright, the year of creation, whether the work is published, whether the work has been previously registered, and whether the work includes preexisting material. Once submitted to the Office, the application becomes part of the public record and can be viewed by the public upon request. In completing an application, it is important to give clear and accurate information. Establishing a full, accurate record serves the public interest, provides potential licensees with accurate information, and decreases the cost of copyright litigation. Online Application The Copyright Office strongly encourages you to apply online to register an individual literary work, visual arts work, motion picture, musical work, sound recording, other per- forming arts work, or single serial issue. -
“We Shall Overcome and the Southern Black Freedom Struggle”
“We Shall Overcome and the Southern Black Freedom Struggle” David J. Garrow On October 22, 1945, 1,000 members of Local 15 of the Food, Tobacco, Agricultural, and Allied Workers Union (FTA) went on strike at an American Tobacco Company cigar factory in Charleston, SC, seeking to increase their pay to 30 cents-per-hour. The biracial group of strikers began picketing outside the brick factory building, and in later years surviving participants would recall two African American women, Delphine Brown and Lucille Simmons, as important song leaders who led the strikers in singing. Simmons was a choir member at Jerusalem Baptist Church, and fellow union members would remember her singing a well-known hymn, “I’ll Be All Right,” and altering it to give voice to the striking workers’ own aspirations: “We Will Overcome.”1 1. Robert Shelton, “Rights Song Has Own History of Integration,” New York Times, 23 July 1963, at 21; Robert Sherman, “Sing a Song of Freedom,” Saturday Review, 28 September 1963, at 65-67, 81; “Moment of History,” The New Yorker, 27 March 1965, at 37-39; Josh Dunson, Freedom In the Air: Song Movements of the Sixties (International Publishers, 1965), at 29; Lillie Mae Marsh in Guy and Candie Carawan, Freedom Is A Constant Struggle—Songs of the Freedom Movement (Oak Publications, 1968), at 138; Bernice Johnson Reagon, “Songs of the Civil Rights Movement 1955-1965: A Study in Cultural History,” Ph.D. dissertation, Howard 2 The strike ended without success in April 1946, but one month later, two participants, Anna Lee Bonneau and Evelyn Risher, traveled to the Highlander University, 1975, at 65, 68-75; Caryle Murphy, “The Rise of a Rights Anthem,” Washington Post, 17 January 1988, at G1, G11; Noah Adams, “Tracing the History of the Song ‘We Shall Overcome,’” All Things Considered, National Public Radio, 15 January 1999; Robert R. -
Copyright Manual on Registration of Artistic Works and Incidental Issues
COPYRIGHT MANUAL ON REGISTRATION OF ARTISTIC WORKS AND INCIDENTAL ISSUES Government of India Ministry of Commerce and Industry Department of Industrial Policy and Promotion COPYRIGHT OFFICE COPYRIGHT MANUAL ON REGISTRATION OF ARTISTIC WORKS AND INCIDENTAL ISSUES OBJECTIVE The General Objective of the “Copyright Manual on Registration of Artistic Works and Incidental Issues” being published shall be to bring uniformity and consistency of practice with respect to the procedures involved in the examination and registration of various Copyright applications pertaining to artistic works in administration of the Copyright Act 1957 and Copyright Rules 2013 made thereunder. It is further hoped that the manual will be useful for the examiners of the Copyright Office and the users of the system. 1 COPYRIGHT MANUAL ON REGISTRATION OF ARTISTIC WORKS AND INCIDENTAL ISSUES FOREWORD “Copyright is a form of protection provided by the Indian legislature to authors/ owners of original works of authorship from the time the works are created and expressed in a tangible form”. Copyright is a right which subsists in a number of different kinds of works such as literary, dramatic, musical or artistic works, sound recording and cinematograph films.1 The Copyright Act 1957 governs the law related to the copyrights in India. The Copyright Act, 1957 as amended in 2012, supplemented by the Copyright Rules, 2013, with subsequent amendments, is the governing law for copyright protection in India. India is a member of the Berne Conventions and Universal Copyright Convention. The Government of India has also issued the International Copyright Order, 1999, according to this order; any work first published in any country - which is a member of any of the above conventions - is granted the same treatment as if it was first published in India. -
Annual Report 2019/20 “We Are Here, Standing Strong, in Our Rightful Place.”
Annual Report 2019/20 “ We are here, standing strong, in our rightful place.” Over the last two years, Highlander has expand our reach to tens of thousands of new is alive and well, and we have been able to persevered in the face of the intersecting and returning Highlander friends and family. thrive because we are held up by a community crises of white supremacist violence, a global Highlander’s operations continued, providing of care. pandemic, climate disaster, the failures of administrative infrastructure for a robust the state, the rise of authoritarianism, police fiscal sponsorship program, offering a range violence, and the many other interlocking forms of movement accompaniment and support of oppression that impact our staff and the services to the uprisings of Summer 2020, and people we serve. giving extra attention to building democracy in (and beyond) election season and attending to After the March 2019 fire, the outpouring of capital improvements of Highlander’s land and support from Highlander’s movement family buildings. across the region, the United States, and globe meant that we could focus on recovering even After the fire, we shared a message inspired by while continuing to welcome thousands of the song, “Solid as a Rock,” with our supporters: people to Highlander for educational work “We are here, standing strong, in our rightful and radical hospitality. The fire required us to place.” That message remains true today. The quickly adapt and practice resilience, a posture fire that destroyed our main office did not that effectively prepared us for early 2020’s destroy us or our work. -
Moses and Frances Asch Collection, 1926-1986
Moses and Frances Asch Collection, 1926-1986 Cecilia Peterson, Greg Adams, Jeff Place, Stephanie Smith, Meghan Mullins, Clara Hines, Bianca Couture 2014 Ralph Rinzler Folklife Archives and Collections Smithsonian Center for Folklife and Cultural Heritage 600 Maryland Ave SW Washington, D.C. [email protected] https://www.folklife.si.edu/archive/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement note............................................................................................................ 3 Biographical/Historical note.............................................................................................. 2 Scope and Contents........................................................................................................ 2 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 5 Series 1: Correspondence, 1942-1987 (bulk 1947-1987)........................................ 5 Series 2: Folkways Production, 1946-1987 (bulk 1950-1983).............................. 152 Series 3: Business Records, 1940-1987.............................................................. 477 Series 4: Woody Guthrie -
The International Comparative Legal Guide To: Copyright 2019
ICLG The International Comparative Legal Guide to: Copyright 2019 5th Edition A practical cross-border insight into copyright law Published by Global Legal Group, in association with Bird & Bird LLP With contributions from: Acapo AS LexOrbis Advance Partners Liad Whatstein & Co. Anderson Mōri & Tomotsune Løje, Arnesen & Meedom ARENAIRE LPS L@w Bereskin & Parr LLP MinterEllison Bird & Bird LLP Paradigma – Law & Strategy Daniel Legal & IP Strategy Patent & Law Firm YUS, LLC De Beer Attorneys Inc. PÉREZ CORREA & ASOCIADOS, S.C. Deep & Far Attorneys-at-Law S. P. A. Ajibade & Co. Fross Zelnick Lehrman & Zissu, P.C. Seow & Associates Grupo Gispert SyCip Salazar Hernandez & Gatmaitan Güzeldere & Balkan Law Firm Synch Advokat AB Hamdan AlShamsi Lawyers & Legal Consultants Wenger Plattner JIPYONG LLC ZY Partners Klinkert Rechtsanwälte PartGmbB The International Comparative Legal Guide to: Copyright 2019 General Chapter: 1 Brexit and Copyright: More Questions than Answers? – Phil Sherrell & Will Smith, Bird & Bird LLP 1 Country Question and Answer Chapters: 2 Australia MinterEllison: John Fairbairn & Katherine Giles 7 Contributing Editor Phil Sherrell, Bird & Bird LLP 3 Brazil Daniel Legal & IP Strategy: Antonio Curvello & 14 Hannah Vitória M. Fernandes Sales Director Florjan Osmani 4 Canada Bereskin & Parr LLP: Jill Jarvis-Tonus 20 Account Director Oliver Smith 5 China ZY Partners: Zhou Qiang & Fu Mingyang 26 Sales Support Manager 6 Denmark Løje, Arnesen & Meedom: Tanya Meedom & Susie P. Arnesen 33 Toni Hayward Sub Editor 7 France ARENAIRE: Pierre