Copyright Rules For Quotes

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Cixi was not at the coronation. The majestic main part of the Forbidden City was out of bounds to her – because she was a woman. She still could not set foot in it, even though she was now the de facto ruler. In fact, when her sedan-chair went within sight of it, she had to close the curtain and show humility by not looking at it. Virtually all decrees were issued in the name of her son, as Cixi had no mandate to rule. It was with this crippling handicap that she proceeded to change China.” Excerpt From: Chang, Jung. “Empress Dowager Cixi.” Random House, 2013-09-25T18:30:00+00:00. iBooks. This material may be protected by copyright.
Jung Chang (Empress Dowager Cixi: The Concubine Who Launched Modern China)
few days after the anniversary, Judge Jackson ordered the sheriff's department to release its report to the public by May 15. He also released more evidence, including a video that drew a lot of heat. For months, Jeffco had referred to it as a "training video" created by the Littleton Fire Department. It was based on footage shot in the library shortly after the bodies were removed. It would be the families' first look at the gruesome scene. It would be "difficult" to watch, Jackson's ruling stated, but that was no reason to suppress it. "There is no compelling public interest consideration that requires that the video or any part of it not be disclosed under the Open Records Act," Jackson wrote. The next day, Jeffco began duplicating the tape and selling copies for $25. Spokesmen said the fee was to defray copying costs. The families were aghast. Then they saw the tape. There was no instruction, no narration, no attempt at "training." It was someone's ghastly attempt at commemoration: grisly crime scene footage set to pop music, Sarah McLachlan's "I Will Remember You." McLachlan's record company threatened to sue for copyright infringement. Jeffco removed the music. Sales remained strong.
Dave Cullen (Columbine)
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)
The message is that the torment a person can inflict upon himself is endless. Hell is inside us, and so is heaven. The Qur’an says human beings are the most dignified. We are higher than the highest, but also lower than the lowest. If we could grasp the full meaning of this, we would stop looking for Sheitan outside and instead focus on ourselves. What we need is sincere self-examination. Not being on the watch for the faults of others.” Excerpt From The Forty Rules of Love Elif Shafak This material may be protected by copyright.
Elif Shafak (The Forty Rules of Love)
Let the Word of Christ rule the Meditation of your Heart and Mind each moment of time! Your Life will become Transformed into a Sweet Melody of Rhyme!" Copyright 2003 Michael A. Melice
Michael A. Melice
We've had the right to adapt longer than we've had the right to prevent copying.
Gretchen McCulloch (Because Internet: Understanding the New Rules of Language)
While most software is copyrighted and closed, Cafelog had different rules. It did not have a copyright. Instead it had something called an open source license, or a copyleft.
Scott Berkun (The Year Without Pants: WordPress.com and the Future of Work)
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.
printfast
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. Competitors such as Yahoo and RealNetworks were thinking they were in a boxing match, where there were rules, while YouTube was performing in a professional wrestling match, where there are no rules.
Jonathan Taplin (Move Fast and Break Things: How Facebook, Google, and Amazon Cornered Culture and Undermined Democracy)
We couldn’t figure out why until we went out and did a user study at a nearby college, actually watching students try to use Google. According to Marissa Mayer, at the time a Googler and now CEO of Yahoo, they were so accustomed to cluttered websites that “flashed, revolved, and asked you to punch the monkey” that they thought there had to be more coming.165 They weren’t searching because they were waiting for the page to finish loading. Engineering vice president Jen Fitzpatrick added: “We wound up sticking a copyright tag at the bottom of the page, not so much because we needed a copyright on the page, but because it was a way to say ‘This is the end.’” The copyright notice fixed the problem.
Laszlo Bock (Work Rules!: Insights from Inside Google That Will Transform How You Live and Lead)
one of our earliest challenges was that users would look at the Google Web page and not type anything. We couldn’t figure out why until we went out and did a user study at a nearby college, actually watching students try to use Google. According to Marissa Mayer, at the time a Googler and now CEO of Yahoo, they were so accustomed to cluttered websites that “flashed, revolved, and asked you to punch the monkey” that they thought there had to be more coming.165 They weren’t searching because they were waiting for the page to finish loading. Engineering vice president Jen Fitzpatrick added: “We wound up sticking a copyright tag at the bottom of the page, not so much because we needed a copyright on the page, but because it was a way to say ‘This is the end.’” The copyright notice fixed the problem.
Laszlo Bock (Work Rules!: Insights from Inside Google That Will Transform How You Live and Lead)
I've also included a substantial proportion of absolute time references rather than relative ones, aiming to be precise about whether I think something is true of the early twenty-first century, the 2010s, specific year, and so on, rather than saying "now" or "currently" and requiring readers to flip to the copyright page and subtract a year or two for preparation, as I've had to do many times when reading other sources.
Gretchen McCulloch (Because Internet: Understanding the New Rules of Language)
Legos encourage endless adding, especially when you have a dad who supports your habit. In Jenga, the rules promote balance. Jenga forces us to subtract first, requiring that we pull out a block from one of the lower levels before we add to the top level. Sure, Lego’s adding approach has been good for business; but so has Jenga’s mandate to subtract first. It was the game’s novel subtracting rules that Leslie Scott copyrighted, to the tune of one hundred million copies sold.
Leidy Klotz (Subtract: The Untapped Science of Less)
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)
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Why You Shouldn’t “Buy GitHub Accounts” — Risks, Reality, and Safer Alternatives If you face any problem you can contact us. we are online 24/7 hours ✅✔️Email: Email: Pvashopusa@gmail.com ✅✔️Skype: Skype: PVASHOPUSA ✅✔️Telegram: @Pvashopusa ✅✔️WhatsApp: +1 (512) 980-4239 The search phrase Buy GitHub Accounts sometimes appears on sketchy forums and marketplaces as a shortcut for people who want instant access to aged profiles, many followers, or accounts already tied to desirable repositories or organizations. The idea looks attractive: skip onboarding, inherit collaborators or stars, and start contributing or deploying immediately. In reality, buying GitHub accounts is hazardous and short-sighted. This article explains the major dangers, why people are tempted, and the proper, policy-compliant ways to meet the same objectives. Why people are tempted to buy accounts Developers, scrapers, marketers, or managers might consider buying accounts for reasons that seem practical: to run multiple bots, avoid rate limits, gain access to older repositories, or quickly build network credibility. Teams scaling quickly may imagine purchasing accounts is faster than internal hiring and onboarding. But those perceived shortcuts create far more problems than they solve. The real risks of buying GitHub accounts If you face any problem you can contact us. we are online 24/7 hours ✅✔️Email: Email: Pvashopusa@gmail.com ✅✔️Skype: Skype: PVASHOPUSA ✅✔️Telegram: @Pvashopusa ✅✔️WhatsApp: +1 (512) 980-4239 1. Violation of GitHub’s Terms of Service and account takedown. GitHub’s policies require accounts to accurately represent the real person or entity using them. Buying or transferring accounts typically breaches those rules. If GitHub detects account sales, synthetic identities, or suspicious ownership changes, it can suspend or permanently remove accounts — and with them any access to repositories, issues, and CI/CD pipelines. 2. Security and takeover vulnerabilities. Accounts sold on secondary markets often retain recovery emails, linked OAuth apps, SSH keys, or 2FA settings that remain under the original owner’s or a middleman’s control. Sellers may include compromised credentials. Buyers inherit unknown attack vectors and can quickly lose access or have accounts used for malicious activity. 3. Intellectual property and licensing issues. Repositories tied to bought accounts may contain code with unknown provenance or licensing constraints. Using repositories inherited from another person can expose you to copyright infringement claims, license violations, or accidental leakage of proprietary data.
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They did, however, find time to invent table tennis. Ivor was extremely good at Ping-Pong, and since the game had no real rules or regulations, he founded the English Ping Pong Association. Jaques, the sports manufacturer, got wind of the fledgling club, and stuffily pointed out that the company had copyrighted the name Ping-Pong. Ewen recalled: “I advised [Ivor] to choose20 another name for the game; as we bandied names at one another, one of us came up with table tennis.” Ivor would go on to found the International Table Tennis Federation in 1926, and served as its first president for the next forty-one years.
Ben Macintyre (Operation Mincemeat: How a Dead Man and a Bizarre Plan Fooled the Nazis and Assured an Allied Victory)
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