Copyright Laws On Quotes

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Only one thing is impossible for God: To find any sense in any copyright law on the planet.
Mark Twain (Letters from the Earth: Uncensored Writings)
People are taking the piss out of you everyday. They butt into your life, take a cheap shot at you and then disappear. They leer at you from tall buildings and make you feel small. They make flippant comments from buses that imply you’re not sexy enough and that all the fun is happening somewhere else. They are on TV making your girlfriend feel inadequate. They have access to the most sophisticated technology the world has ever seen and they bully you with it. They are The Advertisers and they are laughing at you. You, however, are forbidden to touch them. Trademarks, intellectual property rights and copyright law mean advertisers can say what they like wherever they like with total impunity. Fuck that. Any advert in a public space that gives you no choice whether you see it or not is yours. It’s yours to take, re-arrange and re-use. You can do whatever you like with it. Asking for permission is like asking to keep a rock someone just threw at your head. You owe the companies nothing. Less than nothing, you especially don’t owe them any courtesy. They owe you. They have re-arranged the world to put themselves in front of you. They never asked for your permission, don’t even start asking for theirs.
Bad Hagridmitch! Bad, bad Hagridmitch! What did I tell you about copyright laws? Do you want to get sued? Is that what you want?
Bratniss Everclean (The Hunger But Mainly Death Games: A Parody)
If you can’t communicate it, you can’t file a proper application. If you can’t file properly, you can’t secure a patent.
JiNan George (The IP Miracle: How to Transform Ideas into Assets that Multiply Your Business)
IP is not just an idea; it’s an intangible asset that does a specific job for you. Each one is different—patents, trademarks, copyrights. The specific way you get that job done is what you’re protecting, and the way you do it affects the asset value.
JiNan George (The IP Miracle: How to Transform Ideas into Assets that Multiply Your Business)
Copyright law has got to give up its obsession with 'the copy.' The law should not regulate 'copies' or 'modern reproductions' on their own. It should instead regulate uses--like public distributions of copies of copyrighted work--that connect directly to the economic incentive copyright law was intended to foster.
Lawrence Lessig (Remix: Making Art and Commerce Thrive in the Hybrid Economy)
I was once told I am being Arrogant as an Author just because I legally protect my books with copyrighting them and trademarking my titles and names. That's not being Arrogant. It's about being Smart. I went to law school And I'm married to a lawyer. It's ingrained in me to fight the sh*t out of protecting what is mine even if it is perceived as "arrogant". I'd rather be arrogant than stupid. - Strong by Kailin Gow
Kailin Gow
It’s better to have one huge filing with lots of detail, data, and use cases than a dozen failed filings of five to ten pages each. Minimum filing requirements are not minimum requirements to secure a patent. Who does your patent keep out, and how? Your goal in creating IP is for it to be valuable, to be connected to the company, to be linked to your products or service, and to keep out competitors.
JiNan George (The IP Miracle: How to Transform Ideas into Assets that Multiply Your Business)
IP is an intangible asset—an idea converted into transferable personal property rights through patents, trademarks, copyrights, service marks, and trade secrets. IP covers every famous animated character you’ve ever heard of, the logos on your clothing. IP covers products and services you use every day—from flashlights to mobile phones, packaging to cars, food and beverage products, to smart thermostats. IP is not only for big businesses. Most start-ups and event microbusinesses have IP of some kind. 
JiNan George (The IP Miracle: How to Transform Ideas into Assets that Multiply Your Business)
Hiring is hard. Letting go is harder. It’s far easier to hire the right person from the start than to hire the wrong person, realize they’re a bad fit for your company, and then figure out how to let them go. When you know what you want in a new hire, the hard part gets easier. And when you know how to protect your IP, you don’t have to learn the hard lesson.
JiNan George (The IP Miracle: How to Transform Ideas into Assets that Multiply Your Business)
If you’re not filing patents, but your competitors are, all you have is risk. You’re taking a huge chance that no one else will enter your space and kick you out. That’s the benefit of patents; you don’t have to let everybody in. You can let just a few major players in because you want what they have, or you don’t want to worry about them. Remember, you’re not at the big boys’ lunch table. But if you partner with their competitor, they’ll be worried. Then they’ll want to see if your patent protection is strong or if they can exploit a weakness.
JiNan George (The IP Miracle: How to Transform Ideas into Assets that Multiply Your Business)
Otto von Bismarck quipped, "Laws are like sausages, it is better not to see them being made.
Cory Doctorow (Content: Selected Essays on Technology, Creativity, Copyright, and the Future of the Future)
If someone contacts you and asserts that you’re infringing on their patent, you’ll need a lawyer to shield you from the accusation that you are willfully infringing. Never, ever respond yourself. At the same time, you’re not left with whatever your lawyer tells you to do. If you have patents of your own (which you should), disputes don’t have to come to litigation, damages, and bankruptcy. In my experience, the best way to settle IP infringement suits out of the courtroom is through cross-licensing—an agreement between all parties to give each other a license to use their patents.
JiNan George (The IP Miracle: How to Transform Ideas into Assets that Multiply Your Business)
5,6. The Moral Law causes the people to be in complete accord with their ruler, so that they will follow him regardless of their lives, undismayed by any danger. Excerpt From: Sunzi. “The Art of War.” iBooks. This material may be protected by copyright.
Sun Tzu (The Art of War)
Copyright: a system of monopoly privilege over the expression of ideas that enables government to stop consumer-friendly economic development and reward uncompetitive and legally privileged elites to fleece the public through surreptitious use of coercion.
Jeffrey Tucker
Sometimes the strength of motherhood is greater than natural laws.”‌—‌Barbara Kingsolver Copyright
Austin J. Bailey (The Mage & the Magpie (Magemother, #1))
Every time I go past a cinema and see a queue out the door, I think, look at those fools, every penny they spend is turned into profits that are used to pass laws imprisoning their own children. Can't they see?
Cory Doctorow (Pirate Cinema)
The precursor of copyright law served to force the identification of the author so that he could be punished if he proved to be a heretic or a revolutionary
James Boyle (The Public Domain: Enclosing the Commons of the Mind)
We live in a world where value of creativity is measured by commercial success, and copyrights are mere instruments of financial benefit, not creative progress
Kalyan C. Kankanala (Fun IP, Fundamentals of Intellectual Property)
The obvious point of Conrad’s cartoon is the weirdness of a world where guns are legal, despite the harm they can do, while VCRs (and circumvention technologies) are illegal. Flash: No one ever died from copyright circumvention. Yet the law bans circumvention technologies absolutely, despite the potential that they might do some good, but permits guns, despite the obvious and tragic harm they do.
Lawrence Lessig (Free Culture: The Nature and Future of Creativity)
The whole tradition of [oral] story telling is endangered by modern technology. Although telling stories is a very fundamental human attribute, to the extent that psychiatry now often treats 'narrative loss' -- the inability to construct a story of one's own life -- as a loss of identity or 'personhood,' it is not natural but an art form -- you have to learn to tell stories. The well-meaning mother is constantly frustrated by the inability of her child to answer questions like 'What did you do today?' (to which the answer is usually a muttered 'nothing' -- but the 'nothing' is cover for 'I don't know how to tell a good story about it, how to impose a story shape on the events'). To tell stories, you have to hear stories and you have to have an audience to hear the stories you tell. Oral story telling is economically unproductive -- there is no marketable product; it is out with the laws of patents and copyright; it cannot easily be commodified; it is a skill without monetary value. And above all, it is an activity requiring leisure -- the oral tradition stands squarely against a modern work ethic....Traditional fairy stories, like all oral traditions, need the sort of time that isn't money. "The deep connect between the forests and the core stories has been lost; fairy stories and forests have been moved into different categories and, isolated, both are at risk of disappearing, misunderstood and culturally undervalued, 'useless' in the sense of 'financially unprofitable.
Sara Maitland (Gossip from the Forest)
Digital locks are roach motels: copyrighted works check in, but they don’t check out. Creators and investors lose control of their business—they become commodity suppliers for a distribution channel that calls all the shots. Anti-circumvention isn’t copyright protection: it’s middleman protection.
Cory Doctorow (Information Doesn't Want to Be Free: Laws for the Internet Age)
Given an area of law that legislators were happy to hand over to the affected industries and a technology that was both unfamiliar and threatening, the prospects for legislative insight were poor. Lawmakers were assured by lobbyists a) that this was business as usual, that no dramatic changes were being made by the Green or White papers; or b) that the technology presented a terrible menace to the American cultural industries, but that prompt and statesmanlike action would save the day; or c) that layers of new property rights, new private enforcers of those rights, and technological control and surveillance measures were all needed in order to benefit consumers, who would now be able to “purchase culture by the sip rather than by the glass” in a pervasively monitored digital environment. In practice, somewhat confusingly, these three arguments would often be combined. Legislators’ statements seemed to suggest that this was a routine Armageddon in which firm, decisive statesmanship was needed to preserve the digital status quo in a profoundly transformative and proconsumer way. Reading the congressional debates was likely to give one conceptual whiplash. To make things worse, the press was—in 1995, at least—clueless about these issues. It was not that the newspapers were ignoring the Internet. They were paying attention—obsessive attention in some cases. But as far as the mainstream press was concerned, the story line on the Internet was sex: pornography, online predation, more pornography. The lowbrow press stopped there. To be fair, the highbrow press was also interested in Internet legal issues (the regulation of pornography, the regulation of online predation) and constitutional questions (the First Amendment protection of Internet pornography). Reporters were also asking questions about the social effect of the network (including, among other things, the threats posed by pornography and online predators).
James Boyle (The Public Domain: Enclosing the Commons of the Mind)
Google tried to do everything. It proved itself the deepest and fastest of the search engines. It stomped the competition in email. It made a decent showing in image hosting, and a good one in chat. It stumbled on social, but utterly owned maps. It swallowed libraries whole and sent tremors across the copyright laws. It knows where you are right now, and what you’re doing, and what you’ll probably do next. It added an indelible, funny, loose-limbed, and exact verb into the vocabulary: to google. No one “bings” or “yahoos” anything. And it finishes your sen … All of a sudden, one day, a few years ago, there was Google Image Search. Words typed into the search box could deliver pages of images arrayed in a grid. I remember the first time I saw this, and what I felt: fear. I knew then that the monster had taken over. I confessed it, too. “I’m afraid of Google,” I said recently to an employee of the company. “I’m not afraid of Google,” he replied. “Google has a committee that meets over privacy issues before we release any product. I’m afraid of Facebook, of what Facebook can do with what Google has found. We are in a new age of cyberbullying.” I agreed with him about Facebook, but remained unreassured about Google." (from "Known and Strange Things" by Teju Cole)
Teju Cole (Known and Strange Things: Essays)
The content industries like to portray fair use as a narrow and grudging defense against an otherwise valid case for copyright infringement—as if the claim were, “Yes, I trespassed on your land, which was wrong, I admit. But I was starving and looking for food. Please give me a break.” This is simply inaccurate. True, fair use is asserted as “an affirmative defense”; that is the way it is brought up in a copyright case. But in U.S. law, fair uses are stated quite clearly to be limitations on the exclusive rights of the copyright holder—uses that were never within the copyright holder’s power to prohibit. The defense is not “I trespassed on your land, but I was starving.” It is “I did not trespass on your land. I walked on the public road that runs through it, a road you never owned in the first place.
Every Pirate Wants to Be an Admiral IT’S NOT AS though this is the first time we’ve had to rethink what copyright is, what it should do, and whom it should serve. The activities that copyright regulates—copying, transmission, display, performance—are technological activities, so when technology changes, it’s usually the case that copyright has to change, too. And it’s rarely pretty. When piano rolls were invented, the composers, whose income came from sheet music, were aghast. They couldn’t believe that player-piano companies had the audacity to record and sell performances of their work. They tried—unsuccessfully—to have such recordings classified as copyright violations. Then (thanks in part to the institution of a compulsory license) the piano-roll pirates and their compatriots in the wax-cylinder business got legit, and became the record industry. Then the radio came along, and broadcasters had the audacity to argue that they should be able to play records over the air. The record industry was furious, and tried (unsuccessfully) to block radio broadcasts without explicit permission from recording artists. Their argument was “When we used technology to appropriate and further commercialize the works of composers, that was progress. When these upstart broadcasters do it to our records, that’s piracy.” A few decades later, with the dust settled around radio transmission, along came cable TV, which appropriated broadcasts sent over the air and retransmitted them over cables. The broadcasters argued (unsuccessfully) that this was a form of piracy, and that the law should put an immediate halt to it. Their argument? The familiar one: “When we did it, it was progress. When they do it to us, that’s piracy.” Then came the VCR, which instigated a landmark lawsuit by the cable operators and the studios, a legal battle that was waged for eight years, finishing up in the 1984 Supreme Court “Betamax” ruling. You can look up the briefs if you’d like, but fundamentally, they went like this: “When we took the broadcasts without permission, that was progress. Now that someone’s recording our cable signals without permission, that’s piracy.” Sony won, and fifteen years later it was one of the first companies to get in line to sue Internet companies that were making it easier to copy music and videos online. I have a name for the principle at work here: “Every pirate wants to be an admiral.
Cory Doctorow (Information Doesn't Want to Be Free: Laws for the Internet Age)
Revitalized and healthy, I started dreaming new dreams. I saw ways that I could make a significant contribution by sharing what I’ve learned. I decided to refocus my legal practice on counseling and helping start-up companies avoid liability and protect their intellectual property. To share some of what I know, I started a blog, IP Law for Startups, where I teach basic lessons on trade secrets, trademarks, copyrights, and patents and give tips for avoiding the biggest blunders that destroy the value of intellectual assets. Few start-up companies, especially women-owned companies that rarely get venture capital funding, can afford the expensive hourly rates of a large law firm to the get the critical information they need. I feel deeply rewarded when I help a company create a strategy that protects the value of their company and supports their business dreams. Further, I had a dream to help young women see their career possibilities. In partnership with my sister, Julie Simmons, I created, a website where women share their insights, career paths, and ways they have integrated motherhood with their professional pursuits. When my sister and I were growing up on a farm, we had a hard time seeing that women could have rewarding careers. With Lookilulu® we want to help young women see what we couldn’t see: that dreams are not linear—they take many twists and unexpected turns. As I’ve learned the hard way, dreams change and shift as life happens. I’ve learned the value of continuing to dream new dreams after other dreams are derailed. I’m sure I’ll have many more dreams in my future. I’ve learned to be open to new and unexpected opportunities. By way of postscript, Jill writes, “I didn’t grow up planning to be lawyer. As a girl growing up in a small rural town, I was afraid to dream. I loved science, but rather than pursuing medical school, I opted for low-paying laboratory jobs, planning to quit when I had children. But then I couldn’t have children. As I awakened to the possibility that dreaming was an inalienable right, even for me, I started law school when I was thirty; intellectual property combines my love of law and science.” As a young girl, Jill’s rightsizing involved mustering the courage to expand her dreams, to dream outside of her box. Once she had children, she again transformed her dreams. In many ways her dreams are bigger and aim to help more people than before the twists and turns in her life’s path.
Whitney Johnson (Dare, Dream, Do: Remarkable Things Happen When You Dare to Dream)
The US traded its manufacturing sector’s health for its entertainment industry, hoping that Police Academy sequels could take the place of the rustbelt. The US bet wrong. But like a losing gambler who keeps on doubling down, the US doesn’t know when to quit. It keeps meeting with its entertainment giants, asking how US foreign and domestic policy can preserve its business-model. Criminalize 70 million American file-sharers? Check. Turn the world’s copyright laws upside down? Check. Cream the IT industry by criminalizing attempted infringement? Check. It’ll never work. It can never work. There will always be an entertainment industry, but not one based on excluding access to published digital works. Once it’s in the world, it’ll be copied. This is why I give away digital copies of my books and make money on the printed editions: I’m not going to stop people from copying the electronic editions, so I might as well treat them as an enticement to buy the printed objects. But there is an information economy. You don’t even need a computer to participate. My barber, an avowed technophobe who rebuilds antique motorcycles and doesn’t own a PC, benefited from the information economy when I found him by googling for barbershops in my neighborhood. Teachers benefit from the information economy when they share lesson plans with their colleagues around the world by email. Doctors benefit from the information economy when they move their patient files to efficient digital formats. Insurance companies benefit from the information economy through better access to fresh data used in the preparation of actuarial tables. Marinas benefit from the information economy when office-slaves look up the weekend’s weather online and decide to skip out on Friday for a weekend’s sailing. Families of migrant workers benefit from the information economy when their sons and daughters wire cash home from a convenience store Western Union terminal. This stuff generates wealth for those who practice it. It enriches the country and improves our lives. And it can peacefully co-exist with movies, music and microcode, but not if Hollywood gets to call the shots. Where IT managers are expected to police their networks and systems for unauthorized copying – no matter what that does to productivity – they cannot co-exist. Where our operating systems are rendered inoperable by “copy protection,” they cannot co-exist. Where our educational institutions are turned into conscript enforcers for the record industry, they cannot co-exist. The information economy is all around us. The countries that embrace it will emerge as global economic superpowers. The countries that stubbornly hold to the simplistic idea that the information economy is about selling information will end up at the bottom of the pile. What country do you want to live in?
Cory Doctorow (Content: Selected Essays on Technology, Creativity, Copyright, and the Future of the Future)
I was delighted to hear that a number of people returned to see Orphée (as much as five or six times), to the amazement of the managements. This is significant, for the cinema is usually regarded as a place where one drops in for a little entertainment as one would for a glass of beer. This is why film societies, those Courts of Appeal, have so important a part to play, and why they deserve all the support we can give them. This is why I accepted nomination as President of the fédération des Cinéclubs. But, alas, even film societies are sometimes unable to retrieve old films, which the industrial squall sweeps away in order to clear a space for new ones. We had imagined that great actresses like Greta Garbo would be granted the privilege which was denied to a Rachel or a Sarah Bernhardt. But we were wrong. Today it is impossible to show Garbo in The lady of the Camelias for instance, to the young people who could not see the film when it came out, for all the copies have been meticulously destroyed. The lady of the Camelias is to be remade with new stars and new methods, using all the latest technical inventions, colour, three dimensions, and what not. It is a real disaster. Mrs B., the head of the new York Film Library, finds herself confronted with the same difficulties as Langlois of the Cinémathèque française whenever she endeavours to save a film from oblivion. She finds that she cannot obtain a single copy. Chaplin alone escapes that terrible destruction, because he is his own firm and consequently would not fall victim to the perpetual clearing. It is none the less true that fabulous sums are demanded for the showing of any one of his films, and if his very early films are still available it is because the present destructive legislation had not come into force when they were made. This is why René Clair demands the passing of a law of copyright deposit.
Jean Cocteau (Cocteau on the Film)
Courts must not grant Exparte Orders in a hurry under the assumption that all IP owners are genuine.
Kalyan C. Kankanala (Fun IP, Fundamentals of Intellectual Property)
Startups must clear IP risks before launching products as one bad order can kill their business.
Kalyan C. Kankanala (Fun IP, Fundamentals of Intellectual Property)
Using my music may seem fair to you, but note that music composers have never been dealt a fair card.
Kalyan C. Kankanala (Fun IP, Fundamentals of Intellectual Property)
I have never understood why many Indian patent examiners treat attorneys as either rivals or inferiors.
Kalyan C. Kankanala (Fun IP, Fundamentals of Intellectual Property)
One must remember that digital content is not equal to accessible content.
Kalyan C. Kankanala (Fun IP, Fundamentals of Intellectual Property)
Penguin Books Ltd., Registered Offices: 80 Strand, London WC2R 0RL, England     The scanning, uploading, and distribution of this book via the Internet or via any other means without the permission of the publisher is illegal and punishable by law. Please purchase only authorized electronic editions and do not participate in or encourage electronic piracy of copyrighted materials. Your support of the author’s rights is appreciated.   Text copyright © 2011 by AJ Stern. Illustrations copyright © 2011 by Penguin Group (USA) Inc. All rights reserved. Published by Grosset & Dunlap, a division of Penguin Young Readers Group, 345 Hudson Street, New York, New York 10014. GROSSET & DUNLAP is a trademark of Penguin Group (USA) Inc. S.A.   Library of Congress Control Number: 2011018038
A.J. Stern (Fashion Frenzy (Frankly, Frannie))
Copyright ©2014 by Geniuz Gamer All rights reserved worldwide. No part of this book may be reproduced or transmitted or stored in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage and retrieval, without express written permission from the author. In creation of this book all references and other trademark properties are used in accordance with the ‘’Fair Use’’ doctrine pursuant to US copyright law and the equivalent in other jurisdictions.
Geniuz Gamer (ULTIMATE CRAFTING & RECIPE GUIDE (Learn How to Craft & Build Amazing Things !!!!!))
Copyright ©2014 by Geniuz Gamer All rights reserved worldwide. No part of this book may be reproduced or transmitted or stored in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage and retrieval, without express written permission from the author. In creation of this book all references and other trademark properties are used in accordance with the ‘’Fair Use’’ doctrine pursuant to US copyright law and the equivalent in other jurisdictions. Product names and trademarks are the property of their respective owners. All
Geniuz Gamer (ULTIMATE CRAFTING & RECIPE GUIDE (Learn How to Craft & Build Amazing Things !!!!!))
And throughout all of that … you’ve seriously, honestly, never encountered anything like the Copyright Damages Improvement Act?” “Not even close. Our top legal scholars have researched it thoroughly. And they unanimously agree that it’s the most cynical, predatory, lopsided, and shamelessly money-grubbing copyright law written by any society, anywhere in the universe since the dawn of time itself.
Rob Reid (Year Zero)
strictly permitted by applicable copyright law. Any unauthorised distribution or use of this text
David R.L. Litchfield (Hitler's Valkyrie: The Uncensored Biography of Unity Mitford)
and the brain-dead music industry copyright nazis are campaigning for a law to make it mandatory to install secret government spookware in every Walkman—or camera—to prevent home taping from killing Michael Jackson. Absolutely brilliant.
Charles Stross (The Atrocity Archives (Laundry Files, #1))
For artwork, I simply turned to nineteenth-century books and magazines, of which I built a large collection. I knew that (under the copyright laws of the time) works created prior to 1906 were no longer subject to copyright, so we were free to use the artwork. To create the cartoons, I would leaf through old sources until I found a cartoon that I thought would match the text. Much later, I learned from Robert Graves’s The White Goddess that what I was practicing was iconotropy, the deliberate misreading of images. Graves thought that a lot of myths had come from people misreading or twisting the meaning of the pictures on Greek vases. I spent the next nineteen years iconotropically creating those cartoons. They were at once a chore and a relief from the pressures of running the business. Best of all, they caught on with the public, and played a major role of establishing Trader Joe’s as a “different” kind of retailer, one that didn’t take itself too seriously.
Joe Coulombe (Becoming Trader Joe: How I Did Business My Way and Still Beat the Big Guys)
the “safe harbor” provisions of the Digital Millennium Copyright Act (DMCA), which Bill Clinton had signed into law just weeks after Google went live on the Web. The statute protected online service providers (OSPs) such as Google and YouTube from copyright infringement prosecution provided that the OSP not have the requisite level of knowledge of the infringing activity… not receive a financial benefit directly attributable to the infringing activity [and] upon receiving proper notification of claimed infringement… expeditiously take down or block access to the material. Since Hurley’s 2005 email, this has been YouTube’s strategy: pretend not to know there is infringing material being uploaded by users and take down the content when notified by the copyright owner. But this of course neglects one crucial provision of the DMCA—does YouTube receive financial benefit directly attributable to the presence of infringing content on the site? The answer, of course, is yes: in fact you could argue that YouTube achieved success in a crowded field precisely because of its laxity toward pirated content.
Jonathan Taplin (Move Fast and Break Things: How Facebook, Google, and Amazon Cornered Culture and Undermined Democracy)
[There is an] abyss at the heart of copyright law – its lack of a universally accepted, morally sustainable and philosophically consistent foundation
Isabella Alexander (Copyright Law and the Public Interest in the Nineteenth Century)
On the contrary, she and Harper gained the support of Alexander Lindey, an authority on copyright law for the Library of Congress. He argued that to publish these poems was in the public interest. He also considered it questionable for Mattie to pass on rights to a non-member of family. Hampson continued to threaten but had not the means or will to fight a legal battle.
Lyndall Gordon (Lives Like Loaded Guns: Emily Dickinson and Her Family's Feuds)
So it was that Lavinia fired a shot against Sue’s publication. Her protest to Ward laid out the law of ownership. A writer might give a manuscript to someone else, but the possessor is not the owner. Legally, the copyright on the writing remains with writer, and upon death transfers to the writer’s heir. On the basis of Emily’s will, which left Lavinia ‘everything’, Lavinia claimed (pushing the point) that Emily had granted her exclusive rights to her papers, and though Emily gave copies of poems to others they were given simply for private reading ‘and not to pass the property in them, which is mine’. Unsurprisingly Susan challenged this. She had lost her husband to Mabel. Her friendship with Lavinia was being destroyed and now the thing she held most dear, her private relationship with Emily, was being ripped from her. She sounds a little desperate as she writes to Ward: ‘the sister is quite jealous of my treasure … All[?] [the poems and letters] I have are mine—given me by my dear Emily while living[,] so I can in honor do with them as I please.
Lyndall Gordon (Lives Like Loaded Guns: Emily Dickinson and Her Family's Feuds)
The Pen Made for the White House Presidents come and go, but one thing remains constant in the West Wing BY DAN LEWIS FROM NOW I KNOW PHOTOGRAPH BY ADAM VOORHES The pens read “Skilcraft U.S. Government.” And if you have worked for an American government institution, chances are you’ve used one. About $5 million worth of these pens are sold every year (with 60 percent going to the military), and they have quite the story behind them. To start, they’re assembled by the blind. In 1938, in the midst of the Great Depression, the government stepped in to help blind workers, who were already at a competitive disadvantage. Franklin Delano Roosevelt signed into law the Wagner-O’Day Act, which required that the federal government purchase specific goods manufactured by blind Americans. The law soon included pens. The Skilcraft brand came to be a decade or so later, in 1952. Today, the company employs over 5,500 blind workers in 37 states, producing an arsenal of office supplies, with the pens made in factories in Wisconsin and North Carolina. The pens must be built to the specifications outlined in a 16-page document that was first promulgated more than 50 years ago. Among the requirements? The pens must be able to write continuously for no less than 5,000 feet and in temperatures up to 160 degrees and down to 40 degrees below zero. You know, just in case. Copyright © 2011 by Dan Lewis.
We Live in a World Measured by Piracy because Piracy means Access.
Kalyan C. Kankanala
Anything that restricts entry works in the interests of the suppliers and against the interests of the buyers; so, it is not at all surprising that businesses lobby government aggressively for assistance in retarding entry with patents, copyrights, zoning laws, occupational licensing, environmental regulations, etc
There being no international copyright laws, “pirated” editions abounded, with no complaint from the public, or much from authors, who were lionized.
Neil Postman (Amusing Ourselves to Death: Public Discourse in the Age of Show Business)
Unless you’re an amusement park owned by terribly influential corporations who get to bend and twist laws to suit their whims. The world renowned Movieland theme park is known for bending and twisting laws to suit their whims. They basically write copyright laws. They’ve redistricted their property to make sure not a single police precinct has jurisdiction inside the park.
David A. Hill Jr. (#iHunt: Mayhem in Movieland)
Can you think of a better way than slavishly copying and removing attribution to disrespect an author
Kalyan C. Kankanala (Fun IP, Fundamentals of Intellectual Property)
Moral rights form the essence of copyright law. When they conflict with economic rights, moral rights must always prevent
Kalyan C. Kankanala (Fun IP, Fundamentals of Intellectual Property)
Creative Commons has a lot to offer to the entertainment industry provided it is strategically merged with copyright commercialization strategy
Kalyan C. Kankanala (Fun IP, Fundamentals of Intellectual Property)
Every film must be assessed through the eyes of the contemporary, Intelligent, Informed Spectator with a distracted mind, and not the outdated, Innocent, gullible Spectator of the past. The rapid progress of entertainment technology, and the emergence of novel modes and means of content distribution obviates the need for censoring public exhibition of films
Kalyan C. Kankanala (Fun IP, Fundamentals of Intellectual Property)
Throughout American economic life, regulatory barriers to entry and competition limit innovation by providing excessive monopoly privileges through copyright and patent laws, restrict occupational choice by protecting incumbent service providers through occupational licensing restrictions, and create artificial scarcity through land-use regulation. They contribute to increased inequality while reducing productivity growth.
Robert J. Gordon (The Rise and Fall of American Growth: The U.S. Standard of Living since the Civil War (The Princeton Economic History of the Western World))
The simplistic style is partly explained by the fact that its editors, having to meet a publishing deadline, copied the information off the back of a packet of breakfast cereal, hastily embroidering it with a few foot notes in order to avoid prosecution under the incomprehensibly torturous Galactic Copyright Laws. It’s interesting to note that a later and wilier editor sent the book backwards in time, through a temporal warp, and then successfully sued the breakfast cereal company for infringement of the same laws.
Douglas Adams (The Restaurant at the End of the Universe (Hitchhiker's Guide to the Galaxy, #2))
We can instantly map the usage of the word 'raven' across the United States, in works of narrative poetry, written by men in their thirties. but only up to 1923. When it comes to the last century, save if new law affords entry, then the lawyer - dark-robed sentry - who is ever at our door, will yet whisper, "Nevermore!
Erez Aiden (Uncharted: Big Data and an Emerging Science of Human History)
What if you kill a man who was plotting to shoot up a McDonald's? What if you commit one murder to prevent a dozen murders? The "obviously correct" judgment of the law starts to sound more and more like an opinion when a new variable is introduced, doesn't it? And okay, these "what if this?" exercises may feel like cerebral game play, but you don't even need to look to extreme examples to see the tenuous, opinion-based nature of laws. Abortion. Gay marriage. Determining fair use in a copyright infringement case. Every time a law is applied, it is applied as a matter of opinion. And those are the laws -- the biggest and baddest rules we have.
Johnny B. Truant (Disobey)
This ebook is copyright material and must not be copied, reproduced, transferred, distributed, leased, licensed or publicly performed or used in any way except as specifically permitted in writing by the publishers, as allowed under the terms and conditions under which it was purchased or as strictly permitted by applicable copyright law. Any unauthorized distribution or use
Fiona Barton (The Suspect (Kate Waters, #3))
The words looped in my head. Download it for free. Cheerful, triumphant. Download it for free! What a freaking bargain. “I’m sorry,” I said. “She found what?” "That website. Meems, what was the name again? Bongo or something?” Mimi looked up from her iPad. “What are you talking about?” “That website where you found Sarah’s book.” "Oh,” she said. “Bingo. Haven’t you heard of it? It’s like an online library. You can download almost anything for free. It’s amazing.” My hands were shaking. I set down Jen’s phone, and then I set down the wineglass next to it. Without a coaster. "You mean a pirate site,” I said. “Oh God, no! I would never. It’s an online library.” "That’s what they call it. But they’re just stealing. They’re fencing stolen goods. Easy to do with electronic copies.” "No. That’s not true.” Mimi’s voice rose a little. Sharpened a little. “Libraries lend out e-books.” “Real libraries do. They buy them from the publisher. Sites like Bingo just upload unauthorized copies to sell advertising or put cookies on your phone or whatever else. They’re pirates.” There was a small, shrill silence. I lifted my wineglass and took a long drink, even though my fingers were trembling so badly, I knew everyone could see the vibration. "Well,” said Mimi. “It’s not like it matters. I mean, the book’s been out for years and everything, it’s like public domain.” I put down the wineglass and picked up my tote bag. “So I don’t have time to lecture you about copyright law or anything. Basically, if publishers don’t get paid, authors don’t get paid. That’s kind of how it works.” "Oh, come on,” said Mimi. “You got paid for this book.” "Not as much as you think. Definitely not as much as your husband gets paid to short derivatives or whatever he does that buys all this stuff.” I waved my hand at the walls. “And you know, fine, maybe it’s not the big sellers who suffer. It’s the midlist authors, the great names you never hear of, where every sale counts … What am I saying? You don’t care. None of you actually cares. Sitting here in your palaces in the sky. You never had to earn a penny of your own. Why the hell should you care about royalties?” I climbed out of my silver chair and hoisted my tote bag over my shoulder. “It’s about a dollar a book, by the way. Paid out every six months. So I walked all the way over here, gave up an evening of my life, and even if every single one of you had actually bought a legitimate copy, I would have earned about a dozen bucks for my trouble. Twelve dollars and a glass of cheap wine. I’ll see myself out.
Lauren Willig
that’s when Kevin arrived onto the scene. “I-would-call-this-dynamic-entry-but-cannot-for-fear-of-copyright-laws-kick!” His body spinning in midair, the young man lashed out at the woman with a kick from behind. She seemed to sense it, however, and managed to avoid getting her head rung like a bell. Her body smoothly rolled across the grassy ground, where she kipped back up to her feet. She turned around to face her newest attacker… and froze.
Brandon Varnell (A Fox's Vacation (American Kitsune, #5))
The risks to our nation are increasing, rather than decreasing, every minute we turn a blind eye to China’s theft of billions of dollars’ worth of intellectual property and technology; to years of piracy and copyright law violations; to the CCP’s closed economy, the artificial valuation of its own currency, its relentless political influencing operations; and so much more. As we continue to turn a blind eye, our nation moves closer to losing its independence and its freedom.
Robert Spalding (Stealth War: How China Took Over While America's Elite Slept)
Monique was the most unlikely girl to be tending bar at a place like the French Hotel in Monrovia. She was the girl guys would ask, “What’s a sweet girl like you doing in a place like this?” I, like everyone else, liked Monique and always chatted her up. Monique loved the attention and had a heavy hand with the bottles. The later into the evening it got, the more she poured. In Liberia there were no laws holding a bartender responsible for the inebriated actions of their patrons and she was just being friendly. What’s more is that all the expats kept returning. Monique was a dark haired beauty. Slight of stature, she had a pleasant demeanor and a cute French accent. Having some difficulty with English, she would listen intently and try to repeat what was said. Her mannerisms were a delight to watch as she tended bar. For the men, in this hot forsaken place, Monique was a breath of fresh air and an attentive young female to talk to. Her French perfume was a most pleasant contrast to the foul odors that normally filled the air in Monrovia. I liked Monique, didn’t everyone? She was a hot French mademoiselle and looked the part with her cute slightly turned up nose, brown eyes and dark brown hair. In fact she looked very much like Leslie Caron. No one took photos like they do today, so just to give you an idea of how she looked, I was tempted to use a publicity photo of Leslie. However with copyright laws being what they are, I prudently resisted that idea. Although Monique always flirted with me, it was always in a cute or perhaps an innocent way. Without the little encouragement, which I hoped for, I was starting to think of her more like a sister. No, that wasn’t quite it. Although she was always flirtatious and cutesy, the truth was that she just wasn’t available to me and I didn’t know why.
Hank Bracker
5.2. Copyright and Disclaimer Copyright 2014 Metin Bektas. All Rights Reserved. This book is designed to provide information about the topics covered. It is sold with the understanding that the author is not engaged in rendering legal, accounting or other professional services. The author shall have neither liability nor responsibility to any person or entity with respect to any loss or damage caused or alleged to be caused directly or indirectly by the information covered in this book. The book is for personal use of the original buyer only. It is exclusive property of the author and protected by copyright and other intellectual property laws. You may not modify, transmit, publish, participate in the transfer or sale of, reproduce, create derivative works from and distribute any of the content of this book, in whole or in part. The author grants permission to the buyer to use examples and reasonably sized excerpts taken from this book for educational purposes in schools, tutoring lessons and further training courses under the condition, that the material used is not sold or given away and is properly cited.
Metin Bektas (Algebra - The Very Basics)
All rights reserved. No portion of this book may be reproduced in any form without permission from the publisher, except as permitted by U.S. copyright law. For permissions contact:
Tyler Butcher (Secrets!: 20 Conspiracies and other tales of intrigue)
Business people who are otherwise meticulous in their observance of the law seem to regard copyright infringement about as seriously as they regard jaywalking.
John Brooks (Business Adventures: Twelve Classic Tales from the World of Wall Street)
4. Priceless versus worthless: The cost of materials today ranges from $0.1 per kg for wood to $4 trillion per kg for certain pharmaceuticals (reimbursable by health insurance). With revolutions in smart materials and molecular engineering, all materials and objects could be reduced to the range of $0.2 per kg (electronics, clothes, foods, cosmetics, and so on)—or people could spend more and more for less and less via clever branding, copyright and patent laws, elaborate licensing and regulatory schemes, and the like. Or is there a way of artfully combining and integrating all of the above?
George M. Church (Regenesis: How Synthetic Biology Will Reinvent Nature and Ourselves)
reserved. This book is protected by the copyright laws of the United States of America. This book
Jim Stovall (Wisdom for Winners: A Millionaire Mindset)
7 Outstanding Tips for Banner Printing Choosing to produce a printed banner is a fantastic way to maximize your promotional requirements, it helps you to give maximum stand out and showcase your brand. There are a range of options from large PVC banners to simple roller banner solutions to suit all purposes of banner printing. Let’s look at some important points that can help you to make the most out of your printed banner. 1. Use High resolution images While going for banner printing, having good quality images is imperative. If you carry your own camera, then your camera should be able to take decent quality images, but be careful with images from the internet. Not only could you infringe copyright law but the quality is usually quite poor. 2. Clever use of color Your banner printing should be such that maximizes the use of color. Imagine the environment, where will your banner be positioned? What does your competition look like? Then, you can use color to ensure that you stand out from the crowd. If you are an established business, be sure to use your brand colors and clearly position your logo towards the top of the banner, this will make sure you develop a consistent brand identity throughout your marketing material. 3. Count your words Using a large amount of written text can look busy, messy and be off putting to your audience. Try to work out on your key message or brand values and make the banner big and bold. A short & striking message or a graphic will work a hundred times better than a hundred words. The banner printing is meant to grab attention of the viewer, not bore them. 4. Reveal your benefit Succinctly convey your key benefit in your banner headline. Do you have the best price? The best service? The best quality product? Whatever it is, make your banner printing known, specific to your audience and make it centralized. 5. Include an offer Make a time – limited offer to motivate customers to respond quickly. Your offer might even be included in your headline to simplify your banner. 6. Create a memorable call to action Make it clear what customers should do next in order to take advantage of your special offer. Your call to action should be succinct as well as memorable, such as an easy-to-remember URL or phone number. Remember that potential customers will only have a few seconds to digest your banner, so they must be able to retain the action step at a glance. 7. Less is more It is a simple rule but one that makes all the difference. It is very tempting to use a banner to get across every possible message and cram it full of content and images, however from an end user perspective big, bold and simple messaging and graphics is the most effective way to grab attention as well as looking professional and confident.
retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning, or otherwise, without the prior written permission of the authors and publisher. This story is a work of fiction, pulled together from the imaginations of the Interactive Stories team. It has been created under the "Fair Use" doctrine pursuant to United States copyright law. References to real people, events, establishments, organizations, or locales are intended only to provide a sense of authenticity, and are used fictitiously. Minecraft is a trademark of Mojang AB, Stockholm. The author and publisher of this book are not associated with the makers of Minecraft or Mojang AB or any of its subsidiaries. Nothing in this book is meant to imply that it is a Minecraft product for advertising or other commercial purposes.
Calvin Crowther (Minecraft Comics: Flash and Bones and Death in the Cavern of Terror: The Ultimate Minecraft Comics Adventure Series (Real Comics in Minecraft - Flash and Bones, #14))
authors and publisher. This story is a work of fiction, pulled together from the imaginations of the Interactive Stories team. It has been created under the "Fair Use" doctrine pursuant to United States copyright law. References to real people, events, establishments, organizations, or locales are intended only to provide a sense of authenticity, and are used fictitiously. Minecraft is a trademark of Mojang AB, Stockholm. The author and publisher of this book are not associated with the makers of Minecraft or Mojang AB or any of its subsidiaries. Nothing in this book is meant to imply that it is a Minecraft product for advertising or other commercial purposes.
Calvin Crowther (Minecraft Comics: Flash and Bones and Death in the Cavern of Terror: The Ultimate Minecraft Comics Adventure Series (Real Comics in Minecraft - Flash and Bones, #14))
There is another legal sense of the word "copyright" much emphasized by several English justices.
R.R. Bowker (Copyright: Its History and Its Law)
Tongue Twisters for Kids By Riley Weber © 2012 Riley Weber.  All rights reserved. Any unauthorized reproduction, use, copying, distribution or sale of these materials - including words and illustrations - without written consent of the author is strictly prohibited.  Federal law provides severe penalties for unauthorized reproduction, use, copying or distribution of copyrighted material.
Riley Weber (Tongue Twisters for Kids)
the right to reproduce this book or portions thereof in any form whatsoever except as provided by U.S. Copyright Law. For information, address
Tanya Anne Crosby (The Things We Leave Behind)
thereof in any form whatsoever except as provided by U.S. Copyright Law. For information, address The Story Plant.
Tanya Anne Crosby (The Things We Leave Behind)