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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. -
Nysba Spring 2020 | Vol
NYSBA SPRING 2020 | VOL. 31 | NO. 2 Entertainment, Arts and Sports Law Journal A publication of the Entertainment, Arts and Sports Law Section of the New York State Bar Association In This Issue n A Case of “Creative Destruction”: Takeaways from the 5Pointz Graffiti Dispute n The American Actress, the English Duchess, and the Privacy Litigation n The Battle Against the Bots: The Legislative Fight Against Ticket Bots ....and more www.nysba.org/EASL NEW YORK STATE BAR ASSOCIATION In The Arena: A Sports Law Handbook Co-sponsored by the New York State Bar Association and the Entertainment, Arts and Sports Law Section As the world of professional athletics has become more competitive and the issues more complex, so has the need for more reliable representation in the field of sports law. Written by dozens of sports law attorneys and medical professionals, In the Arena: A Sports Law Handbook is a reflection of the multiple issues that face athletes and the attorneys who represent them. Included in this book are chapters on representing professional athletes, NCAA enforcement, advertising, sponsorship, intellectual property rights, doping, concussion-related issues, Title IX and dozens of useful appendices. Table of Contents Intellectual Property Rights and Endorsement Agreements How Trademark Protection Intersects with the Athlete’s EDITORS Right of Publicity Elissa D. Hecker, Esq. Collective Bargaining in the Big Three David Krell, Esq. Agency Law Sports, Torts and Criminal Law PRODUCT INFO AND PRICES 2013 | 539 pages Role of Advertising and Sponsorship in the Business of Sports PN: 4002 (Print) Doping in Sport: A Historical and Current Perspective PN: 4002E (E-Book) Athlete Concussion-Related Issues Non-Members $80 Concussions—From a Neuropsychological and Medical Perspective NYSBA Members $65 In-Arena Giveaways: Sweepstakes Law Basics and Compliance Issues Order multiple titles to take advantage of our low flat Navigating the NCAA Enforcement Process rate shipping charge of $5.95 per order, regardless of the number of items shipped. -
How Fashion Erased the Politics of Streetwear in 2017
City University of New York (CUNY) CUNY Academic Works Capstones Craig Newmark Graduate School of Journalism Fall 12-15-2017 Mask On: How Fashion Erased the Politics of Streetwear in 2017 Frances Sola-Santiago How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gj_etds/219 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Mask On: How Fashion Erased the Politics of Streetwear in 2017 By Frances Sola-Santiago Hip-hop culture dominated the fashion zeitgeist in 2017. From a Louis Vuitton and Supreme collaboration to Gucci’s support of Harlem designer Dapper Dan’s store reopening, the fashion industry welcomed Black culture into the highest echelons of high fashion. Rapper Cardi B became the darling of New York Fashion Week in September after being rejected by designers throughout most of her career. Marc Jacobs traded the runway for the street, staging a show that included bucket hats, oversized jackets, and loads of corduroy on a large number of models of color. But while the industry appeared to diversify by acknowledging the indomitable force of hip-hop culture, it truly didn’t. The politics of hip-hop and Black culture were left out of the conversation and the players behind-the-scenes remained a homogeneous mass of privileged white Westerners. Nearly every high fashion brand this year capitalized on streetwear— a style of clothing born out of hip-hop culture in marginalized neighborhoods of New York City and Los Angeles, and none recognized the historical, cultural, and political heritage that made streetwear a worldwide phenomenon, symbolizing power and cool. -
Innovating a 90'S Streetwear Brand for Today's Fashion Industry
FOR US BY US: INNOVATING A 90'S STREETWEAR BRAND FOR TODAY'S FASHION INDUSTRY A Thesis submitted to the FAculty of the Graduate School of Arts and Sciences of Georgetown University in partiAl fulfillment of the requirements for the degree of MAsters of Arts in CommunicAtion, Culture And Technology By Dominique HAywood, B.S WAshington, DC May 26, 2020 Copyright 2020 by Dominique HAywood All Rights Reserved ii FOR US BY US: INNOVATING A 90'S STREETWEAR BRAND FOR TODAY'S FASHION INDUSTRY Dominique HAywood, BS Thesis Advisor: J.R. Osborn, Ph.D ABSTRACT This thesis is a cAse study of how a vintAge fashion brand cAn be innovated through humAn centered design for the current fashion industry. IDEO, global design and innovation company, has clAssified humAn centered design as A method for identifying viAble, feAsible and desirable solutions with the integration of multidisciplinary insights (IDEO). For this thesis, the brand of focus is FUBU, for us by us, a 90’s era streetweAr brand that is a product of New York City hip-hop culture. A succinct proposAl for FUBU’s resurgence in the fashion industry will be designed by first identifying the viAbility of the fashion industry and feAsibility of the brand’s revival. ViAbility will be determined by detAiling the current stAte of the fashion and streetweAr industries. This is to estAblish the opportunities and threAts of new and returning entrants into the industry. FeAsibility will be declAred by reseArching the history and current stAte of the brand, its cultural relevancy, and its strengths and weAknesses. -
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This Book Is Valuable: an Anthology of Essays on Design and the Perception of Value in Luxury Fashion Objects Carlos Velasco University of Nebraska-Lincoln
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Honors Theses, University of Nebraska-Lincoln Honors Program Spring 3-12-2018 This Book is Valuable: An Anthology of Essays on Design and the Perception of Value in Luxury Fashion Objects Carlos Velasco University of Nebraska-Lincoln Follow this and additional works at: https://digitalcommons.unl.edu/honorstheses Part of the Fashion Design Commons, Fine Arts Commons, and the Graphic Design Commons Velasco, Carlos, "This Book is Valuable: An Anthology of Essays on Design and the Perception of Value in Luxury Fashion Objects" (2018). Honors Theses, University of Nebraska-Lincoln. 36. https://digitalcommons.unl.edu/honorstheses/36 This Article is brought to you for free and open access by the Honors Program at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Honors Theses, University of Nebraska-Lincoln by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. This Book Is Valuable: An anthology of essays on design and the perception of value in luxury fashion objects. An Undergraduate Honors Thesis Submitted in Partial fulfillment of University Honors Program Requirements University of Nebraska-Lincoln by Carlos Velasco, Bachelor of Fine Arts, BFA Graphic Design Hixson-Lied College of Fine & Performing Arts 2018 Faculty Mentors: Stacy Asher, Associate Professor of Art, Department of Art, Art History and Design Aaron Sutherlen, Assistant Professor of Art, Department of Art, Art History and Design Velasco, 1 Abstract “This Book is Valuable” seeks to analyze how different concepts related to design and culture have influenced the apparent and perceived value of luxury fashion objects. -
TOUR NOTES JANUARY 2019 Styles of Resistance
TOUR NOTES JANUARY 2019 Styles of Resistance Styles of Resistance: From the Corner to the Catwalk On View: January 18-February 24, 2019 Curated by: Amy Andrieux, Richard Bryan and Mariama Jalloh FEATURED DESIGNERS coup d’etat BROOKLYN, Frank William Miller, Jr., FUBU, Johnny Nelson!, Karl Kani, Melody Ehsani, Maurice Malone, Moshood, Philadelphia Print Works, PNB Nation, Sean John, Spike’s Joint, Studio 189, Shirt King Phade, The Peralta Project, Walker Wear, Willi Wear LTD, Xuly Bet, and more. FEATURED ARTISTS Alex Blaise, Anthony Akinbola, Aurelia Durand, Barry Johnson, Benji Reid, Dr. Fahamu Pecou, Hassan Hajjaj, Jamel Shabazz, Janette Beckman, Kendall Carter, Lakela Brown, Marc Baptiste, Michael Miller, Righteous Jones (Run P.), Ronnie Rob, TTK, and Victoria Ford. Themes: ● 70s and 80s ○ Police Brutality in the United States and the Black Panther Party ■ How did “self-actualization”and police brutality inspire groups like the Black Panther Party to build the foundation for the birth of hip-hop and streetwear fashion? ○ Graffiti and Social Movements ■ How did black and brown communities respond to continued police brutality and poverty globally? What art was produced as a response to these grievances while also building community? ■ How did graffiti play a role in advancing the hip-hop movement? ● 90s ○ Michael Jordan and Sneakers ■ Jordans quickly became incorporated into streetwear, so they were always in high demand. Because Jordans were vastly consumed by Black people, Jordans quickly became associated with crime and violence. ● Spike Lee commercial ○ Streetwear, Urbanwear and Luxury Brands ■ Luxury Designers, and NY Fashion week had a disdain for urban fashion. Not only was the word “urban” synonymous to “ghetto”, but this label was used to exclude black designers, and people from big media platforms, fashion shows and stores. -
2021 Primetime Emmy® Awards Ballot
2021 Primetime Emmy® Awards Ballot Outstanding Lead Actor In A Comedy Series Tim Allen as Mike Baxter Last Man Standing Brian Jordan Alvarez as Marco Social Distance Anthony Anderson as Andre "Dre" Johnson black-ish Joseph Lee Anderson as Rocky Johnson Young Rock Fred Armisen as Skip Moonbase 8 Iain Armitage as Sheldon Young Sheldon Dylan Baker as Neil Currier Social Distance Asante Blackk as Corey Social Distance Cedric The Entertainer as Calvin Butler The Neighborhood Michael Che as Che That Damn Michael Che Eddie Cibrian as Beau Country Comfort Michael Cimino as Victor Salazar Love, Victor Mike Colter as Ike Social Distance Ted Danson as Mayor Neil Bremer Mr. Mayor Michael Douglas as Sandy Kominsky The Kominsky Method Mike Epps as Bennie Upshaw The Upshaws Ben Feldman as Jonah Superstore Jamie Foxx as Brian Dixon Dad Stop Embarrassing Me! Martin Freeman as Paul Breeders Billy Gardell as Bob Wheeler Bob Hearts Abishola Jeff Garlin as Murray Goldberg The Goldbergs Brian Gleeson as Frank Frank Of Ireland Walton Goggins as Wade The Unicorn John Goodman as Dan Conner The Conners Topher Grace as Tom Hayworth Home Economics Max Greenfield as Dave Johnson The Neighborhood Kadeem Hardison as Bowser Jenkins Teenage Bounty Hunters Kevin Heffernan as Chief Terry McConky Tacoma FD Tim Heidecker as Rook Moonbase 8 Ed Helms as Nathan Rutherford Rutherford Falls Glenn Howerton as Jack Griffin A.P. Bio Gabriel "Fluffy" Iglesias as Gabe Iglesias Mr. Iglesias Cheyenne Jackson as Max Call Me Kat Trevor Jackson as Aaron Jackson grown-ish Kevin James as Kevin Gibson The Crew Adhir Kalyan as Al United States Of Al Steve Lemme as Captain Eddie Penisi Tacoma FD Ron Livingston as Sam Loudermilk Loudermilk Ralph Macchio as Daniel LaRusso Cobra Kai William H. -
Locations in Toronto for Horror Movies
Locations in Toronto for Horror Movies The films on this list feature locations in and around Toronto. Where a specific site has been identified by the IMDb database or other sources, it is listed, but there could be additional unidentified sites as well. There are dozens of other horror films with unspecified locations in Toronto, which I have included on my other list, “Horror Films in Toronto with Unspecified Locations.” Note: It’s not easy to draw a hard line to distinguish what is and isn’t horror. These films span a number of genres that intersect with horror, the supernatural, dark fantasy, or comedic horror. American Psycho (2000) dir. Mary Harron starring Christian Bale, Justin Theroux, Josh Lucas • The Senator Restaurant, 249 Victoria Street – DOWNTOWN TORONTO MAP • Phoenix Concert Theater, 410 Sherbourne Street – UNIVERSITY OF TORONTO AREA MAP • The Ballroom, 145 John Street (formerly Montana Restaurant Bar) – DOWNTOWN TORONTO MAP • Biff’s Bistro, 4 Front Street E. (formerly Boston Club) – DOWNTOWN TORONTO MAP • Fune Japanese Restaurant, 100 Simcoe Street (formerly Monsoon Restaurant) – DOWNTOWN TORONTO MAP • Cabbagetown neighbourhood (unspecified location) – UNIVERSITY OF TORONTO AREA MAP • Pearl Street (unspecified location) – DOWNTOWN TORONTO MAP American Pyscho II: All American Girl (2002) dir. Morgan J. Freeman starring Mila Kunis, William Shatner, Geraint Wyn Davies • unspecified Toronto locations Anonymous Rex (2004) dir. Julian Jarrold starring Sam Trammell, Daniel Baldwin, Stephanie Lemelin, Tamara Gorski • Cloud Forest Conservatory, 14 Temperance Street – funeral scene – DOWNTOWN TORONTO MAP The Believers (1987) dir. John Schlesinger starring Martin Sheen, Helen Shaver, Harley Cross, Robert Loggia • Toronto City Hall, 100 Queen Street W. -
Stephen King's Apocalyptic Drama 'The Stand'
STEPHEN KING’S APOCALYPTIC DRAMA ‘THE STAND’ COMING TO AMAZON PRIME VIDEO IN JANUARY Starring Whoopi Goldberg, Alexander Skarsgard, James Marsden, Amber Heard, Greg Kinnear and Australian Odessa Young, The Stand premieres exclusively in New Zealand on Amazon Prime Video on 15 January 2020 CLICK HERE TO WATCH THE TRAILER CLICK HERE FOR A SELECTION OF IMAGES “The world is now a blank page and it is there that you must make your stand.” Amazon Studios has acquired the Australian and New Zeraland rights to Stephen Kings’ The Stand, from CBS. The epic series stars a stellar ensemble cast including Whoopi Goldberg and Alexander Skarsgard, alongside Australian actress Odessa Young, and premieres exclusively on Amazon Prime Video on 15 January 2021. Five months after a bioengineered super flu strain - developed by the US military and named “Captain Trips” – sees the death of more than 99 percent of the world’s population, hundreds of survivors come together to try and start their lives over. The nine-episode limited event series is Stephen King’s apocalyptic dark fantasy vision of a world decimated by plague and embroiled in an elemental struggle between good and evil. The fate of mankind rests on the frail shoulders of the 108-year-old Mother Abagail (Whoopi Goldberg) and a handful of survivors. Their worst nightmares are embodied in a man with a lethal smile and unspeakable powers: Randall Flagg (Alexander Skarsgård), the Dark Man. The Stand will close with a new coda written by the famed author himself. In this post-apocalyptic world, there is the good and a deep wall darkness. -
2017-2018 Annual Report
CELEBRATING 25 YEARS Since 1993 2017/2018 HARLEM USA YEAR IN REVIEW 1 Table of Contents 4 Joint Message from Chairman and President 6 We Welcome Our New Neighbors 7 We Bizznifi 8 Conversations That Are Being Had 10 Pedestrian Counts 12 Sanitation and Street Maintenance 14 Clean Campaign 17 Public Safety 18 Marketing, Promotion, Communication, Events 19 Holiday Lighting 21 Sustainable Urbanization 22 Composition of Use Per Block 27 BID Financials 29 2017 - 2018 Board of Director 30 Management and Staff 31 CUNY Service Corp 32 Harlem Happenings App 33 BID Boundaries Joint Message from Chairman and President This year marks 25 years of operation for the 125th Street BID. Naturally reflection is in order and we did that in several ways. We held a Property Owner’s Think Tank where we reviewed achievements, what we want to let go, what we want to continue to pursue from an investor point of view, and examined new projects to add. We looked at existing BID resources. We analyzed data prepared by the BID staff that showed the growth in assessed values, the trends in pedestrian counts, and the impact of exempt vs. taxable properties. We discussed existing database platforms and ways to leverage strategic partners as we continue our journey. Recognizing that development activity is taking place on 125th Street, we examined what is happening with development above retail spaces; how to mitigate construction impacts, what will it take to activate development across 125th street and why are private developers not taking advantage of the cultural bonus that was put into place in 2008 with the re-zoning of 125th Street. -
Anthony Lopez
CUSTOMIZED SHOES: A HIP-HOP STAPLE AND A REBELLIOUS FASHION ANTHONY LOPEZ COMMENTARY: AMIT BARIA RESPONSE: ANTHONY LOPEZ In our society today, pursuits to conform or adjust to the ever-altering trends that dictate the fashion landscape are priorities for any fashion or pop-culture connoisseur. For better or for worse, the fate of consumer America is predicated on the domineering shadow of adolescent acquisition, and even more on producers capitalizing off the individuality that consumers hope to achieve. In hip-hop culture, where lavishness and extreme excess is a requirement at times, designer and name-brand fashions have found a niche in the urban ethos catalog. Throughout its rich and relatively young history, hip-hop’s standard dress has undergone many modifications. However, one of the most essential and enduring hip-hop staples has been footwear. According to Rebecca Arnold’s Fashion, Desire and Anxiety: Image and Morality in the Twentieth Century, the cultures of feet and fashion have been negotiating for years, footwear first appearing as a necessary accessory during the 1980s when groups like Run-DMC made songs such as “My Adidas” to promote their undying love for “kicks” (Arnold 40). Fast-forward to 2002, and the marriage between shoes and hip-hop is still very much evident. Popular brands such as Nike, Reebok, and the ubiquitous Jordan brand are some of the most widely consumed and hip-hop endorsed products on the market. However, as of last year, a new phenomenon has taken the urban shoe market by storm, and reinvented the image of what it means to be “ghetto fabulous.” The phenomenon we are speaking of, my friends, is the personalized shoe.