The Implications of Pop-Star Practices on the Future of Intellectual Property
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General Interest
GENERAL INTEREST GeneralInterest 4 FALL HIGHLIGHTS Art 60 ArtHistory 66 Art 72 Photography 88 Writings&GroupExhibitions 104 Architecture&Design 116 Journals&Annuals 124 MORE NEW BOOKS ON ART & CULTURE Art 130 Writings&GroupExhibitions 153 Photography 160 Architecture&Design 168 Catalogue Editor Thomas Evans Art Direction Stacy Wakefield Forte Image Production BacklistHighlights 170 Nicole Lee Index 175 Data Production Alexa Forosty Copy Writing Cameron Shaw Printing R.R. Donnelley Front cover image: Marcel Broodthaers,“Picture Alphabet,” used as material for the projection “ABC-ABC Image” (1974). Photo: Philippe De Gobert. From Marcel Broodthaers: Works and Collected Writings, published by Poligrafa. See page 62. Back cover image: Allan McCollum,“Visible Markers,” 1997–2002. Photo © Andrea Hopf. From Allan McCollum, published by JRP|Ringier. See page 84. Maurizio Cattelan and Pierpaolo Ferrari, “TP 35.” See Toilet Paper issue 2, page 127. GENERAL INTEREST THE MUSEUM OF MODERN ART,NEW YORK De Kooning: A Retrospective Edited and with text by John Elderfield. Text by Jim Coddington, Jennifer Field, Delphine Huisinga, Susan Lake. Published in conjunction with the first large-scale, multi-medium, posthumous retrospective of Willem de Kooning’s career, this publication offers an unparalleled opportunity to appreciate the development of the artist’s work as it unfolded over nearly seven decades, beginning with his early academic works, made in Holland before he moved to the United States in 1926, and concluding with his final, sparely abstract paintings of the late 1980s. The volume presents approximately 200 paintings, sculptures, drawings and prints, covering the full diversity of de Kooning’s art and placing his many masterpieces in the context of a complex and fascinating pictorial practice. -
FASHION IS STILL MADONNA's PASSION Final 6.7.2012 1030Am
FASHION IS STILL MADONNA’S PASSION LOS ANGELES, CA (June 7, 2012) - Madonna’s MDNA Tour which opened in Tel Aviv on May 31 st includes over 700 costumes elements, six costume changes for the Material Girl and costume changes for the dancers with each song. The show is already being heralded as her most stunning and grandest extravaganza ever. Longtime Madonna stylist, Arianne Phillips, and her staff of 25 have put together an array of big name designers and emerging talent including Jean Paul Gaultier Couture, Brooks Brothers shirts and canes, Prada/MiuMiu shoes, club and street style innovators Jeremy Scott & Adidas, Dolce & Gabanna and several new creative partnerships, as well as her own Truth or Dare line encompassing lingerie and shoes that are scheduled to come out in the Fall. The Material Girl’s MDNA tour essentially runs the gamut from long time collaborators and new partners, fashion designers, retailers and artists along with dazzling elements of Swarovski crystals. “I see Madonna as one of the greatest performing artists and entertainers of our generation,” commented Phillips, a two time Oscar nominee, who has collaborated with Madonna for over l5 years and four tours. The wardrobe reflects new twists on familiar themes including spirituality, prophecy, light, super-vixen, Americana/sassy, majorette with a message, masculine, feminine, redemption and celebration. With styles including Truth or Dare lingerie with crosses, colorful metal mesh tee shirts, specially designed accessories including gargoyle and bunny masks, Brooks Brothers shirts and canes, swords, gun holsters, jeweled accessories, mirrored track suits, Lord of War tee shirts, Phillips designed Joan of Arc ensembles, a majorette costume with a l940’s inspired silhouette and Shaolin warrior costumes, fashionistas will easily find a wide range of styles and likely some new trends. -
Entertainment & Sports Lawyer 33.3
Meet the New Boss: NOI Table Top Three Services Filing NOIs Number of NOIs Tech Giants Rely on April, 2016—January 201711 Per Service Amazon Digital Services LLC 19,421,902 Loopholes to Avoid Google, Inc. 4,625,521 Pandora Media, Inc. 1,193,346 Paying Statutory According to a recent story on the subject in Royalties with Mass Billboard12: Filings of NOIs at At this point [June 2016], 500,000 new the Copyright Office [songs] are coming online every month [much lower than the reported numerical By Chris Castle average to date], and maybe about 400,000 of them are by indie songwriters [which There is a fundamental rule of music licensing— may include covers], many of whom who if you don’t have a license from the copyright don’t understand publishing,’ Bill Colitre, owner, don’t use the music. In the new thing of VP/General Counsel for Music Reports, “permissionless innovation,”1 the “disruptors” a key facilitator in helping services to pay want to use the music anyway. Nowhere is publishers, tells Billboard. ‘For the long tail, this battle more apparent than the newest music publishing data from indie artists often new thing—mass filing of “address unknown” doesn’t exist’ when their music is distributed compulsory license notices for songs. to digital services. You’re probably familiar with U.S. compulsory Conversely, neither digital retailers, i.e., music mechanical licenses2 for songs mandated by users, nor aggregators appear to be able (or Section 1153 of the Copyright Act.4 We think perhaps willing) to collect publishing information -
Transforming Document Recordation at the United States Copyright Office a Report of the Abraham L
u n i t e d s t a t e s c o p y r i g h t o f f i c e Transforming Document Recordation at the United States Copyright Office a report of the abraham l. kaminstein scholar in residence december 2014 u n i t e d s t a t e s c o p y r i g h t o f f i c e Transforming Document Recordation at the United States Copyright Office a report of the abraham l. kaminstein scholar in residence december 2014 Transforming Document Recordation at the United States Copyright Office: A Report to the Register of Copyrights Robert Brauneis Abraham L. Kaminstein Scholar in Residence, U.S. Copyright Office Professor of Law, The George Washington University Law School December 31, 2014 About the Abraham L. Kaminstein Scholar in Residence Program Through its Abraham L. Kaminstein Scholar in Residence Program, the Copyright Office brings leading academics with a demonstrated commitment to the study of copyright law and policy to the Copyright Office, at the invitation of the Register, to conduct research and/or work on mutually beneficial projects for a sustained period of time. Abe Kaminstein served as the sixth Register of Copyrights, from 1960 to 1971. He was a leading force in adapting the copyright registration system to the public interest, and in laying the groundwork for the general revision of copyright law. Table of Contents I. Introduction. ................................................................................................................................. 7 A. Process. ................................................................................................................................... 8 B. Roadmap. ................................................................................................................................ 8 C. Reference Abbreviations and Locations. ................................................................................ 9 D. Acknowledgments. ............................................................................................................... 10 II. -
Shop at Elisabettafranchi.Com 17/11/11 10.45 WEEK NUMERI, FATTI E PROTAGONISTI DELLA MODA E DEL LUSSO 2011 Uro
shop at elisabettafranchi.com 055356-PANBIANCOWEK 204X264,5.indd 1 17/11/11 10.45 WEEK NUMERI, FATTI E PROTAGONISTI DELLA MODA 2011E DEL LUSSO INTESA SANPAOLO con convegnoPAMBIANCO uro E NUOVE - 5 5 - UINDICINALE Q DIMENSIONIPERNUOVI - 17 novembre 2011 - - 2011 novembre 17 - VII / 19 N° N° MERCATI BORSA Poste Italiane - In caso di mancato recapito inviare al CMP di Roserio per la restituzione al mittente previo pagamento resi resi pagamento previo mittente al restituzione la per Roserio di CMP al inviare recapito mancato di caso In - Italiane Poste p alazzo m ez zan otte SOMMARIO ITALIA 4/16 M&A 56 TOP RETAILER 76/78 Brioni entra nel polo del lusso di PPR Area Docks: lifestyle box INTERVISTA 60/61 Un nuovo presidente per Derek Lam che lancia 10 Crosby Street LIFESTYLE 62/65 Rob Sands: "Portiamo il vino italiano nelle case americane” Francesco Pesci CASA & DESIGN 79/81 MONDO 18/24 Poltrona Frau, nove mesi in leggera Tamara Mellon lascia Jimmy Choo crescita REPORTAGE CONVEGNO PAMBIANCO - INTESA SANPAOLO 26/34 Moda e lusso, la sfi da della crescita Rob Sands "Stay with Armani”, apre a Milano il nuovo hotel di Re Giorgio ANALISI LE QUOTABILI 36/38 Moda e lusso, ecco le 50 aziende giuste per la Borsa APERTURE MONOMARCA 68/69 INTERVISTA 44/46 In copertina: Nuovo fl agship a Roma per Fossil Illustrazione di Veronica Pozzi Collistar, che bellezza crescere anche in tempo di crisi FASHION WINDOWS 70/72 Le winter windows del Quadrilatero Daniela Sacerdote INTERVISTA 52/53 La nuova vita di Stone Island COMUNICAZIONE & EVENTI 74/75 Il lusso di Rolex GMT Master in mostra GIRO POLTRONE 54/55 a Milano QUINDICINALE, IN EDICOLA IL GIOVEDÌ 17 novembre 2011 PAMBIANCOWEEK 3 ITALIA BRIONI ENTRA NEL POLO DEL LUSSO DI PPR OCCHIALI, ARMANI TORNA DA LUXOTTICA Dopo otto anni di partnership con il Gruppo Safilo, Armani, per la sua linea eyewear, torna da Luxottica, che aveva già avuto la licenza dal 1988 al 2003. -
VOL 2, No 73 (2021) Sciences of Europe (Praha, Czech Republic)
VOL 2, No 73 (2021) Sciences of Europe (Praha, Czech Republic) ISSN 3162-2364 The journal is registered and published in Czech Republic. Articles in all spheres of sciences are published in the journal. Journal is published in Czech, English, Polish, Russian, Chinese, German and French, Ukrainian. Articles are accepted each month. Frequency: 24 issues per year. Format - A4 All articles are reviewed Free access to the electronic version of journal All manuscripts are peer reviewed by experts in the respective field. Authors of the manuscripts bear responsibil- ity for their content, credibility and reliability. Editorial board doesn’t expect the manuscripts’ authors to always agree with its opinion. Chief editor: Petr Bohacek Managing editor: Michal Hudecek • Jiří Pospíšil (Organic and Medicinal Chemistry) Zentiva • Jaroslav Fähnrich (Organic Chemistry) Institute of Organic Chemistry and Biochemistry Academy of Sciences of the Czech Republic • Smirnova Oksana K., Doctor of Pedagogical Sciences, Professor, Department of History (Moscow, Russia); • Rasa Boháček – Ph.D. člen Česká zemědělská univerzita v Praze • Naumov Jaroslav S., MD, Ph.D., assistant professor of history of medicine and the social sciences and humanities. (Kiev, Ukraine) • Viktor Pour – Ph.D. člen Univerzita Pardubice • Petrenko Svyatoslav, PhD in geography, lecturer in social and economic geography. (Kharkov, Ukraine) • Karel Schwaninger – Ph.D. člen Vysoká škola báňská – Technická univerzita Ostrava • Kozachenko Artem Leonidovich, Doctor of Pedagogical Sciences, Professor, Department of History (Moscow, Russia); • Václav Pittner -Ph.D. člen Technická univerzita v Liberci • Dudnik Oleg Arturovich, Doctor of Physical and Mathematical Sciences, Professor, De- partment of Physical and Mathematical management methods. (Chernivtsi, Ukraine) • Konovalov Artem Nikolaevich, Doctor of Psychology, Professor, Chair of General Psy- chology and Pedagogy. -
The Need for More Certainty of Copyright Status for Classical Music Works Published Between 1925 and 1978*1
IF IT IS BAROQUE, FIX IT: THE NEED FOR MORE CERTAINTY OF COPYRIGHT STATUS FOR CLASSICAL MUSIC WORKS PUBLISHED BETWEEN 1925 AND 1978*1 I. INTRODUCTION Classical music is all around us. Although dismal concert attendance numbers suggest otherwise, classical music still has an important place in modern culture—from elevating emotions in film soundtracks to wooing consumers through television commercials.2 Edvard Grieg’s Peer Gynt appeared in a Coca-Cola commercial aired during the Pyeongchang 2018 Olympics.3 Advertising agencies have used Pyotr Ilyich Tchaikovsky’s famous 1812 Overture to sell products ranging from breakfast cereal to a drug that treats overactive bladder.4 Independence Day celebrations around the nation also frequently feature the piece.5 Nonclassical artists surreptitiously submerge classical works into popular music. The verse of Eric Carmen’s song “All by Myself,” also covered by Celine Dion,6 originates in Sergei Rachmaninoff’s Piano Concerto no. 2 in C Minor.7 Rapper Nas used Ludwig van Beethoven’s “Für Elise” throughout his song “I Can.”8 Nas also used Frédéric Chopin’s Étude in C Minor, op. 10, no. 12 in his song “A Queens Story.”9 Lady Gaga’s hit song “Alejandro” begins with Vittorio Monti’s Czardas,10 which itself comes from a traditional Hungarian folk dance.11 Ludacris’s song “Coming 2 America” cleverly and appropriately contains Antonín Dvořák’s Symphony no. 9 in E Minor, op. * Yunica Jiang, J.D. Candidate, Temple University Beasley School of Law, 2020. I would like to thank Professor Erika Douglas for her feedback, guidance, support, and encouragement throughout this process. -
Total Tracks Number: 2218 Total Tracks Length: 151:00:00 Total Tracks Size: 16.0 GB
Total tracks number: 2218 Total tracks length: 151:00:00 Total tracks size: 16.0 GB # Artist Title Length 01 2 Brothers On The 4Th Floor Can't Help Myself 05:39 02 2 Brothers On The 4th Floor Dreams (Will Come Alive) 04:19 03 2 Brothers on the 4th Floor I'm Thinking of You 03:24 04 2 Brothers On The 4Th Floor Never Alone 04:10 05 2 Brothers On The 4th Floor There's A Key 03:54 06 2 Eivissa Oh La La 04:41 07 2 In a Room Wiggle It 03:59 08 2 Unlimited Get Ready For This 03:40 09 2 Unlimited Jump For Joy 03:39 10 2 Unlimited No Limit 03:28 11 2 Unlimited No One 03:24 12 2 Unlimited Twilight Zone 05:36 13 2 Unlimited Workaholic 03:33 14 2pac Thug Mansion 03:32 15 2pac Wonder If Heaven Got A Ghetto 04:34 16 2pac Daz Kurupt Baby Dont Cry Remix 05:20 17 Three Doors Down Be Like That 04:25 18 3 Doors Down Here Without You 03:53 19 3 Doors Down Kryptonite 03:52 20 3lw No More (Baby I'm Gonna Do Rig 04:17 21 3lw Playa Gonna Play 03:06 22 3rd Eye Blind How Is It Gonna Be 04:10 23 3T Anything 04:15 24 4 Non Blondes What's Up 04:55 25 4 Non Blonds What's Up? 04:09 26 38 Special Caught Up In You 04:25 27 38 Special Hold On Loosely 04:40 28 38 Special Second Chance 04:12 29 50 Cent In Da Club 03:42 30 50 cent Window Shopper 03:09 31 98 Degrees Give Me One More Night (Una No 03:23 32 98 Degrees I Do (Cherish You) 03:43 33 98 Degrees Invisible Man 04:38 34 98 Degrees My Everything 04:28 35 98 Degrees The Hardest Thing 04:27 36 112 Anywhere 04:03 37 112 Cupid 04:07 38 112 Dance With Me 03:41 39 112 Love You Like I Did 04:16 40 702 Where My Girls At 02:44 -
Mar 30 2012 * ------)( Brooklyn Office Ashanta Marshall
Case 1:08-cv-01420-LB Document 134 Filed 03/30/12 Page 1 of 53 PageIDFILED #: <pageID> IN CLERK'S OFFICI U.S. DISTRICT COURT E.c.N.V. UNITED STATES DISTRICT COURT EASTERN DISTRICT OF NEW YORK * MAR 30 2012 * ------------------------------------------------------)( BROOKLYN OFFICE ASHANTA MARSHALL, Plaintiff, OPINION & ORDER 08 CV 1420 (LB) -against- AFRICA MARSHALL, Defendant. -----------------------------------------------------)( BLOOM, United States Magistrate Judge: Plaintiff and defendant are brothers. In 2001, the brothers Marshall began producing a series of instructional videos featuring plaintiff Ashanta Marshall's hairstyling techniques. Plaintiff had years of experience in the hair industry, and defendant Africa Marshall, the younger brother, was interested in video production and was studying communications and marketing. After working together for nearly four years, the brothers fought about the business and their relationship dissolved. However, both brothers continued to promote and sell the videos through various media outlets, and they both registered copyrights with the United States Copyright Office. They now dispute their respective rights to the videos and to the use of plaintiffs image. Plaintiff, proceeding pro se, brought an action in the Civil Court of Kings County in 2008. Defendant found pro bono counsel who removed the case to this Court and filed three counterclaims. For three years, the brothers have fought about discovery, engaged in vigorous motion practice, and attacked each other and defendant's counsel. After completing discovery, defendant moved for summary judgment, which was granted in part and denied in part. The parties consented to trial before a magistrate judge pursuant to 28 U.S.C. § 636(c), and I held a bench trial on August 1 and 2, 2011. -
Copyright Registrations: Who, What, When, Where, and Why
OLIAR (P ATTISON )(P OWELL )-1.F INAL .DOCX (D O NOT DELETE ) 6/28/14 5:22 PM Copyright Registrations: Who, What, When, Where, and Why Dotan Oliar, * Nathaniel Pattison ** & K. Ross Powell *** The registration records at the U.S. Copyright Office provide a valuable lens on the use and performance of the copyright system, but have not yet been studied systematically. Using an original data set containing all 2.3 million registrations from 2008 to 2012, we provide a snapshot of current patterns of registration. We describe who is registering what, where, when, and why. Our main findings include the types of work being registered, how the registrations of individuals and firms differ, when works are being registered relative to their date of creation and date of publication, the age distribution of authors in different creative fields, and the geographic distribution and concentration of registration claimants. The registration data collected and reported are superior to those relied upon in prior literature and should therefore prove useful to lawmakers and scholars wishing to measure the effect of copyright law on creativity or otherwise reform our copyright law. I. ! INTRODUCTION ..................................................................................2212 ! II. ! WHY REGISTER ? L EGAL AND MARKET REASONS FOR REGISTRATION ...................................................................................2215 ! A. ! Legal Reasons........................................................................2215 ! B. ! Market-Based Reasons: -
Annual Report of the Register of Copyrights
annual report of the register of copyrights the register of report annual Annual Report of the Register of Copyrights fiscal year ending september 30, 2010 · 2010 United States Copyright Office Library of Congress title page photo: United States Copyright Office Library of Congress’s 101 Independence Avenue SE James Madison Bulding Washington, DC 20559-6000 www.copyright.gov w Organization of the U. S. Copyright Office inside ÿ annual report of the register of copyrights the register of report annual Annual Report of the Register of Copyrights fiscal year ending september 30, 2010 · 2010 United States Copyright Office Library of Congress title page photo: United States Copyright Office Library of Congress’s 101 Independence Avenue SE James Madison Bulding Washington, DC 20559-6000 www.copyright.gov w Organization of the U. S. Copyright Office inside ÿ Organization of the U. S. Copyright Office August 23, 2010 register of copyrights Marybeth Peters associate register associate register for registration & for policy & chief operating officer general counsel recordation international affairs Elizabeth R. Scheffler David O. Carson Nanette Petruzzelli Maria A. Pallante associate chief operating officer registration & recordation David Christopher program manager Susan Todd chief, administrative services office Bruce J. McCubbin chief, copyright technology office Doug Ament visual arts & performing arts information & records receipt analysis copyright acquisitions literary division recordation division licensing division division division & control division division Ted Hirakawa, Chief John H. Ashley, Chief James B. Enzinna, Chief Melissa Dadant, Chief David Christopher, Acting Chief Victor A. Holmes, Acting Jewel A. Player, Chief Vacant, Asst. Chief William R. Briganti, Asst. Mark L. DiNapoli, Asst. -
Madonna: Feminist Or Antifeminist? Domination of Sex in Her Music Videos and Live Performances from the 20Th Century to the Present Day
Received: July 6, 2015 Accepted: July 10, 2015 Original scholarly paper UDC: 78.071.2 Мадона:141.72 Katarina Mitić musicologist, music supervisor in record label Mascom Records, Serbia [email protected] Madonna: Feminist or Antifeminist? Domination of Sex in Her Music Videos and Live Performances From the 20th Century to the Present Day Abstract: After a nearly four-decade career, Madonna has not stopped with a modernist/pos- tmodernist strategy of shock, which provides the reader or viewer the possibility of different interpretations of her art. While some art theorists condemn her as a ‘total antifeminist’, others praise Madonna’s work and point out her feminist side, through which she represents the ideal of a strong, independent and successful womanconfirming her own power and sexuality. Brea- king conventional stereotypes through her videos and concert performances, the ‘Queen of Pop’ constantly demonstrates sexual dominance over both genders. In this paper, based on the con- temporary research of Douglas Kellner and other theorists, I will analyze music videos and live performances from the 1990suntil the recent video for the song Bitch, I’m Madonna and consider why Madonna can be interpreted in two ways – as someone who ‘undermines her own feminism’ or as someone who is transparently presented as a feminist in the world of pop culture. Key words: strategy of shock, feminist, antifeminist, video, live performance In today’s pop culture the element of shock is successfully implemented only by the most experienced and most cunning artists, or those backed by marketing machinery that is ready to come up with a new strategy to win the audience.