Case 1:07-Cv-09931-WHP Document 65 Filed 12/30/2008 Page 1 of 10
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Taking Intellectual Property Into Their Own Hands
Taking Intellectual Property into Their Own Hands Amy Adler* & Jeanne C. Fromer** When we think about people seeking relief for infringement of their intellectual property rights under copyright and trademark laws, we typically assume they will operate within an overtly legal scheme. By contrast, creators of works that lie outside the subject matter, or at least outside the heartland, of intellectual property law often remedy copying of their works by asserting extralegal norms within their own tight-knit communities. In recent years, however, there has been a growing third category of relief-seekers: those taking intellectual property into their own hands, seeking relief outside the legal system for copying of works that fall well within the heartland of copyright or trademark laws, such as visual art, music, and fashion. They exercise intellectual property self-help in a constellation of ways. Most frequently, they use shaming, principally through social media or a similar platform, to call out perceived misappropriations. Other times, they reappropriate perceived misappropriations, therein generating new creative works. This Article identifies, illustrates, and analyzes this phenomenon using a diverse array of recent examples. Aggrieved creators can use self-help of the sorts we describe to accomplish much of what they hope to derive from successful infringement litigation: collect monetary damages, stop the appropriation, insist on attribution of their work, and correct potential misattributions of a misappropriation. We evaluate the benefits and demerits of intellectual property self-help as compared with more traditional intellectual property enforcement. DOI: https://doi.org/10.15779/Z38KP7TR8W Copyright © 2019 California Law Review, Inc. California Law Review, Inc. -
4:08-Cv-03088-LSC-FG3 Doc # 10 Filed: 06/20/08 Page 1 of 2 - Page ID # 64
4:08-cv-03088-LSC-FG3 Doc # 10 Filed: 06/20/08 Page 1 of 2 - Page ID # 64 IN THE UNITED STATES DISTRICT COURT FOR THE DISTRICT OF NEBRASKA BMG MUSIC, a New York general ) partnership; ATLANTIC RECORDING ) CORPORATION, a Delaware corporation; ) ARISTA RECORDS LLC, a Delaware ) limited liability company; CAPITOL ) RECORDS, INC., a Delaware corporation; ) ELEKTRA ENTERTAINMENT GROUP INC., ) a Delaware corporation; INTERSCOPE ) RECORDS, a California general ) partnership; MOTOWN RECORD ) COMPANY, L.P., a California limited ) partnership; PRIORITY RECORDS LLC, a ) Delaware limited liability company; SONY ) BMG MUSIC ENTERTAINMENT, a ) Delaware general partnership; UMG ) 4:08CV3088 RECORDINGS, INC., a Delaware ) corporation; WARNER BROS. RECORDS ) ORDER TO SHOW CAUSE INC., a Delaware corporation; and ZOMBA ) RECORDING LLC, a Delaware limited ) liability company, ) ) Plaintiffs, ) ) vs. ) ) DOES 1-6, ) ) Defendants. ) Several of the plaintiffs are corporations. The Clerk of the Court served notice on plaintiffs' counsel on May 1, 2008 (Filing 3). The Notice states: TEXT NOTICE REGARDING CORPORATE DISCLOSURE STATEMENT by Deputy Clerk as to Plaintiffs Interscope Records, Motown Record, Priority Records, Sony BMG Music Entertainment, UMG Recordings, BMG Music, Warner Bros. Records, Zomba Recording, Atlantic Recording, Arista Records, Capitol Records, Elektra Entertainment Group. Pursuant to Fed. R. Civ. P. 7.1, non-governmental corporate parties are required to file Corporate Disclosure Statements (Statements). The parties shall use the form Corporate Disclosure Statement, available on the Web site of the court at http://www.ned.uscourts.gov/forms/. If you have not filed your Statement, you must do so within 15 days of the date of this notice. If you have already filed your Statement in this case, you are reminded to file a Supplemental Statement within a reasonable time of any change in the information that the statement requires.(PCV, ) (Entered: 05/01/2008) 4:08-cv-03088-LSC-FG3 Doc # 10 Filed: 06/20/08 Page 2 of 2 - Page ID # 65 Fed. -
The Dark Side User Manual
USER MANUAL 1.0.2 EASTWEST | THE DARK SIDE IMPORTANT COMPATIBILITY NOTE! Our Revolutionary New Opus Software Engine Our brand new Opus software engine has been years in development, and replaces the Play engine. All EastWest Libraries (with the exception of the original Hollywood Orchestra, the original Hollywood Solo Instruments, and the MIDI Guitar Series) are supported in Opus, allowing them to take advantage of a faster, more powerful, more flexible, and better looking software engine. Opus comes with some incredible new features such as individual instrument down- loads, customized key-switches, new effects for the mixer page, scalable retina user interface upgrades for legacy products, a powerful new script language, and many more features that allow you to completely customize the sound of each instrument. It’s one of the most exciting developments in the history of our company and will be the launching pad for many exciting new products in the future. Using Opus and Play Together Opus and Play are two separate software products, anything you have saved in your projects will still load up inside the saved Play version of the plugins. You can update your current/existing projects to Opus if you so choose, or leave them saved within Play. After purchasing or upgrading to Opus you do not need to use Play, but it may be more convenient to make small adjustments to an older composition in your DAW loading the instruments saved in Play instead of replacing them with Opus. For any new composi- tion, just use Opus. A Note About User Manuals All EastWest Libraries have their own user manuals (like this one) that refer to instru- ments and controls that are specific to their respective libraries, as well as referencing the Play User Manual for controls that are common to all EastWest Libraries. -
Calendar Filled with Holes by Adrienne Belz Girl’S Soccer Game Against Bryan
the Vol. 57 No. 5 bagpipeonline.com BAGPIPEOctober 7, 2010 The Parking Lottery Exploring Covenant’s parking vices and virtues ANNIE HUNTINGTON by Karin Olson late to class looking for one.” plaints have been from off-campus However, many students find parking. [email protected] Greg Ford, Safety and Security students. parking at Scotland Yard to be “They should either not let Coordinator, believes frustration There are an estimated 834 park- inconvenient. freshmen have cars or they need to For those driving cars at Covenant with parking anywhere is inevi- ing spaces on Covenant’s campus “I didn’t pay $100 for an off- invest more money in off-campus College, finding a parking spot can table. where students may park. This campus sticker so I could park in parking for students,” said Gore. quickly spiral into a moment of “I often feel that Covenant gets a year, the school sold about 680 Scotland Yard. By the time I get to Parking permits at Covenant anxiety and frustration. ‘bad rap’ when it comes to parking permits. Ford said the lots closer to school, I don’t have time for a long are $100 for main campus park- “You’re lucky to find a parking simply because parking is a sensi- campus are clogged because people walk up from one of the satellite ing (off-campus parking permit spot the first few lots you try,” said tive issue anywhere you go,” he are refusing to park in Scotland parking lots,” said senior Lisa Cow- free of charge), $75 for Scotland senior Alison Gore, who lives off said. -
Record Collector Magazine
The Year of the HOBSE hat Mark Linkous of priated lyrical inspiration from south Waits, Grandaddy and Mercury Rev, Sparklehorse once briefly Virginian novelists, Ohio-born cinematog- Sparklehorse cut through their off-kilter died is probably the least raphers and film-makers, l6th Century music with almost perverse experimenta- interesting thing about him. English dramatists, esoteric American tion. They are as likely to create vigorous, In 1997, the American musician troubadors, a French poet and music critic feedback-enfettered rock songs as they collapsed in the en suite bathroom of and a deadpan American songlrrriter. He's are drowsy instrumentals; as likely to a London hotel with his legs pinned also sung about: pigs, horses, butchered forge fragile, debilitated ballads as beneath him for 14 hours. He was cows, "painbirds" and "pianobirds", esoteric, sample-heavy interludes. eventually found by a maid and rabbits, spiders, insects, leeches, hum- For the most part, this music is taken to St. Mary's Hospital, where, mingbirds, "hundreds of sparrows", poignant, melancholic and touching. On for two minutes, his heart stopped wolves, crows, snails, dogs, tigers and their first album, Viuadixiesubmarine- beating. It reads like a meta "more yellow birds". transmissionplot, Linkous even sang rock'n'roll story for a man who like Mark Linkous and his more or less about rescuing an iniured hawk: "I chased kindred spirits Grandaddy - anon)"rnous -has co-conspirators crush guitars, him round, tried to pick him up." Linkous tried to circumvent rock'n'roll clich6. tape loops, organs and frequently distort- has explained, "but he kept biting Nearly dying isn't cool. -
David Lynch to Show New Works at Solo Gallery Exhibition.” Los Angeles Times
Ng, David. “David Lynch to show new works at solo gallery exhibition.” Los Angeles Times. 14 November 2013. Web. David Lynch to show new works at solo gallery exhibition David Lynch will be opening a show this month at Kayne Griffin Corcoran. It will run Nov. 23 through Jan.4. David Lynch hasn't released a new feature since "Inland Empire" in 2006, but the director has been creating visual art and exhibiting surreal creations in gallery shows. Lynch held solo exhibitions in Los Angeles in 2009 and 2011, and will be opening yet another show this month at Kayne Griffin Corcoran. The exhibition, which is being curated by Brett Littman, executive director of the Drawing Center in New York, will focus on how Lynch uses "naming" in film, photography, drawings and other works dating from 1968 to the present. Kayne Griffin Corcoran said the show will run from Nov. 23 to Jan. 4, and will feature a group of new paintings, drawings and watercolors by Lynch. The filmmaker, whose credits include "Blue Velvet," "Mulholland Dr." and the "Twin Peaks" television series, has previously exhibited his art at William Griffin Gallery in Santa Monica. In 2009, he showed original artwork for the album "Dark Night of the Soul," featuring music by Danger Mouse and Sparklehorse, at L.A.'s Michael Kohn Gallery. Next year, Lynch's work will be the subject of a retrospective show at the Pennsylvania Academy of Fine Arts in Philadelphia, where the director studied in his youth. The show will feature approximately 75 paintings and drawings created by Lynch since 1965. -
Exhibit O-137-DP
Contents 03 Chairman’s statement 06 Operating and Financial Review 32 Social responsibility 36 Board of Directors 38 Directors’ report 40 Corporate governance 44 Remuneration report Group financial statements 57 Group auditor’s report 58 Group consolidated income statement 60 Group consolidated balance sheet 61 Group consolidated statement of recognised income and expense 62 Group consolidated cash flow statement and note 63 Group accounting policies 66 Notes to the Group financial statements Company financial statements 91 Company auditor’s report 92 Company accounting policies 93 Company balance sheet and Notes to the Company financial statements Additional information 99 Group five year summary 100 Investor information The cover of this report features some of the year’s most successful artists and songwriters from EMI Music and EMI Music Publishing. EMI Music EMI Music is the recorded music division of EMI, and has a diverse roster of artists from across the world as well as an outstanding catalogue of recordings covering all music genres. Below are EMI Music’s top-selling artists and albums of the year.* Coldplay Robbie Williams Gorillaz KT Tunstall Keith Urban X&Y Intensive Care Demon Days Eye To The Telescope Be Here 9.9m 6.2m 5.9m 2.6m 2.5m The Rolling Korn Depeche Mode Trace Adkins RBD Stones SeeYou On The Playing The Angel Songs About Me Rebelde A Bigger Bang Other Side 1.6m 1.5m 1.5m 2.4m 1.8m Paul McCartney Dierks Bentley Radja Raphael Kate Bush Chaos And Creation Modern Day Drifter Langkah Baru Caravane Aerial In The Backyard 1.3m 1.2m 1.1m 1.1m 1.3m * All sales figures shown are for the 12 months ended 31 March 2006. -
Sonic Jihadâ•Flmuslim Hip Hop in the Age of Mass Incarceration
FIU Law Review Volume 11 Number 1 Article 15 Fall 2015 Sonic Jihad—Muslim Hip Hop in the Age of Mass Incarceration SpearIt Follow this and additional works at: https://ecollections.law.fiu.edu/lawreview Part of the Other Law Commons Online ISSN: 2643-7759 Recommended Citation SpearIt, Sonic Jihad—Muslim Hip Hop in the Age of Mass Incarceration, 11 FIU L. Rev. 201 (2015). DOI: https://dx.doi.org/10.25148/lawrev.11.1.15 This Article is brought to you for free and open access by eCollections. It has been accepted for inclusion in FIU Law Review by an authorized editor of eCollections. For more information, please contact [email protected]. 37792-fiu_11-1 Sheet No. 104 Side A 04/28/2016 10:11:02 12 - SPEARIT_FINAL_4.25.DOCX (DO NOT DELETE) 4/25/16 9:00 PM Sonic Jihad—Muslim Hip Hop in the Age of Mass Incarceration SpearIt* I. PROLOGUE Sidelines of chairs neatly divide the center field and a large stage stands erect. At its center, there is a stately podium flanked by disciplined men wearing the militaristic suits of the Fruit of Islam, a visible security squad. This is Ford Field, usually known for housing the Detroit Lions football team, but on this occasion it plays host to a different gathering and sentiment. The seats are mostly full, both on the floor and in the stands, but if you look closely, you’ll find that this audience isn’t the standard sporting fare: the men are in smart suits, the women dress equally so, in long white dresses, gloves, and headscarves. -
Championsip Celebrating the Creators of Jobs, Innovation, Safety, and Access
April 23, 2014 U.S. Chamber of Commerce Washington, D.C. 2014 CHAMPIONSIP Celebrating the Creators of Jobs, Innovation, Safety, and Access 2014 IP Champions Agenda April 23, 2014 Hall of Flags | U.S. Chamber of Commerce Time Details 8:30 AM Registration 9:00 AM Opening Remarks • David Hirschmann, President & CEO, Global Intellectual Property Center 9:05 AM Business Innovations Panel Moderator: Mark Crowell, Executive Director, U.Va. Innovations • Reza Monazami, Ph.D, University of Virginia • Jalali Hartman, Founder & Chief Human, ROBAUTO, Inc 9:55 AM Presentation of Awards to Business Innovators • Mark Crowell, Executive Director, U.Va Innovations • Reza Monazami, Ph.D, University of Virginia • Jalali Hartman, Founder & Chief Human, ROBAUTO, Inc. 10:00 AM Consumer Awareness Campaigns - Panel Discussion • Marjorie Clifton, Executive Director, Center for Safe Internet Pharmacies • Libby Baney, Executive Director, Alliance for Safe Online Pharmacies • Alun Jones, Chief of Communication and Advocacy, United Nations Office of Drugs and Crime • Chuck Westfall, Technical Advisor, Professional Engineering & Solutions Division, Canon U.S.A. 10:55 AM Presentation of Awards to Consumer Awareness Campaigns • “Be Safe. Buy Smart.” - CSIP • “Counterfeit: Don’t buy into organized crime.” - UNODC • “Anti-Counterfeit Consumer Awareness Campaign” - Canon U.S.A. 11:00 AM Consumer Awareness Speech • Introduction by: Sandra Aistars, Chief Executive Officer, Copyright Alliance • David Lowery, Musician and Guest Lecturer, Terry College of Business, University of Georgia 11:20 AM Presentation of Award to Consumer Awareness Speaker • David Lowery, Musician and Guest Lecturer, Terry College of Business, University of Georgia 11:25 AM Presentation of Awards to Public Officials Introduction by: William Reid, Vice President, Global Anti- Counterfeiting Operations, Eli Lilly • Mark Cohen, Senior Counsel, China, U. -
“Straight Outta Compton”—NWA (1988)
“Straight Outta Compton”—N.W.A (1988) Added to the National Registry: 2016 Essay by Ben Westhoff (guest post)* “Straight Outta Compton” LP N..W.A Gangsta rap existed before “Straight Outta Compton,” but N.W.A’s landmark 1988 album popularized the genre and serves as its standard bearer even today. The mythology of the artists behind its creation also continues to loom large: Eazy-E, the Compton crack dealer who used his profits to finance a hip-hop career; Dr. Dre, his neighbor who’d most recently been DJ-ing in flamboyant, sequined outfits for a song-and-dance group; Ice Cube, the ostentatious high school rapper from South Central Los Angeles whose writing gifts matched his aggressive delivery. But it was the characters they imagined--both militarized street kids sick of being humiliated by the cops and brash punks on the hunt for sex and cheap booze--that shaped the album, marching in time to Dr. Dre’s assault of chopped samples, wailing sirens, guitar riffs, and rapid drum machine beats, all of it more tuneful than it sounds on paper. Rounded out by the group’s other firebrand rapper, MC Ren, Dr. Dre’s production partner, MC Yella, and electro-rap holdover Arabian Prince--not to mention hugely influential ghostwriter D.O.C.--N.W.A reshaped hip-hop music in their own image. They called it “reality rap,” but in the beginning it was far from clear that N.W.A would rap unvarnished lyrics threatening the status quo. Dr. Dre and Ice Cube’s earlier music disparaged the gang lifestyle, and just about everyone in the group admired Prince. -
Just Announced
JUST ANNOUNCED Aldous Harding Wed 30 & Thu 31 Mar 2022, Barbican Hall, 8pm Tickets £20 – £25 New Zealand singer-songwriter Aldous Harding, alongside her band, makes her Barbican debut in March 2022. The two shows will feature material from her three studio albums to date. Harding, whose music has been described as ‘disquietingly beautiful and unsettling as her image’ by the Guardian, drew critical acclaim for the gothic indie folk style on her eponymous self-titled 2014 debut album. Her two follow-up albums – 2017’s Party and 2019's Designer – were released on British independent label 4AD. Both records were co-produced by John Parish (PJ Harvey, Sparklehorse). John Parish also produced Harding’s track Old Peel – known and loved by fans as the set-closer at her most recent live shows – which will be digitally released on 15 June and as a limited 7” on 9 July 2021. Aldous Harding was awarded a prestigious Silver Scroll Award for The Barrel (the New Zealand equivalent of the Ivor Novellos) and was nominated in the Solo Artist category in 2020’s Q Awards. Designer also made the top 5 in Mojo's 2019 Best Albums of the Year. Touring extensively pre-pandemic, Harding is renowned for the captivating state of possession she occupies in live performances, winning over audiences across the world. Produced by the Barbican in association with Bird On The Wire On sale to Barbican patrons and members on Wed 16 Jun 2021 On general sale on Fri 18 Jun 2021 Find out more FURTHER EVENT DETAILS ANNOUNCED George the Poet: Live from the Barbican Thu 1 Jul 2021, Barbican Hall, 8pm Tickets £20 – 30 & £12.50 (livestream) George the Poet will bring his innovative brand of musical poetry to Live from the Barbican this summer. -
Amici Curiae Brief of Erik Nielson, Charis E
No. 15-666 __________________________________________ In the Supreme Court of the United States _____ ____ TAYLOR BELL, Petitioner, V. ITAWAMBA COUNTY SCHOOL BOARD, Respondent. _____ ____ On Petition for a Writ of Certiorari to the United States Court Of Appeals for the Fifth Circuit ______ ___ AMICI CURIAE BRIEF OF ERIK NIELSON, CHARIS E. KUBRIN, TRAVIS L. GOSA, MICHAEL RENDER (AKA “KILLER MIKE”) AND OTHER SCHOLARS AND ARTISTS IN SUPPORT OF PETITIONER _____ ____ CHARLES “CHAD” BARUCH Counsel of Record COYT RANDAL JOHNSTON JR. JOHNSTON TOBEY BARUCH 3308 Oak Grove Avenue Dallas, Texas 75204 (214) 741-6260 [email protected] Counsel for Amici Curiae __________________________________________ LEGAL PRINTERS LLC, Washington DC ! 202-747-2400 ! legalprinters.com i TABLE OF CONTENTS Table of Contents ........................................................ i Table of Authorities ................................................... ii Interests of Amici Curiae ........................................... 1 Summary of Argument .............................................. 3 Argument .................................................................... 6 A. “Fight the power”: The politics of hip hop .......... 6 B. “Put my Glock away, I got a stronger weapon that never runs out of ammunition”: The non- literal rhetoric of hip hop .................................. 12 C. “They ain’t scared of rap music—they scared of us”: Rap’s bad rap .............................................. 19 Conclusion ...............................................................