Free Copyright Quotes

When the web started, I used to get really grumpy with people because they put my poems up. They put my stories up. They put my stuff up on the web. I had this belief, which was completely erroneous, that if people put your stuff up on the web and you didn’t tell them to take it down, you would lose your copyright, which actually, is simply not true. And I also got very grumpy because I felt like they were pirating my stuff, that it was bad. And then I started to notice that two things seemed much more significant. One of which was… places where I was being pirated, particularly Russia where people were translating my stuff into Russian and spreading around into the world, I was selling more and more books. People were discovering me through being pirated. Then they were going out and buying the real books, and when a new book would come out in Russia, it would sell more and more copies. I thought this was fascinating, and I tried a few experiments. Some of them are quite hard, you know, persuading my publisher for example to take one of my books and put it out for free. We took “American Gods,” a book that was still selling and selling very well, and for a month they put it up completely free on their website. You could read it and you could download it. What happened was sales of my books, through independent bookstores, because that’s all we were measuring it through, went up the following month three hundred percent. I started to realize that actually, you’re not losing books. You’re not losing sales by having stuff out there. When I give a big talk now on these kinds of subjects and people say, “Well, what about the sales that I’m losing through having stuff copied, through having stuff floating out there?” I started asking audiences to just raise their hands for one question. Which is, I’d say, “Okay, do you have a favorite author?” They’d say, “Yes.” and I’d say, “Good. What I want is for everybody who discovered their favorite author by being lent a book, put up your hands.” And then, “Anybody who discovered your favorite author by walking into a bookstore and buying a book raise your hands.” And it’s probably about five, ten percent of the people who actually discovered an author who’s their favorite author, who is the person who they buy everything of. They buy the hardbacks and they treasure the fact that they got this author. Very few of them bought the book. They were lent it. They were given it. They did not pay for it, and that’s how they found their favorite author. And I thought, “You know, that’s really all this is. It’s people lending books. And you can’t look on that as a loss of sale. It’s not a lost sale, nobody who would have bought your book is not buying it because they can find it for free.” What you’re actually doing is advertising. You’re reaching more people, you’re raising awareness. Understanding that gave me a whole new idea of the shape of copyright and of what the web was doing. Because the biggest thing the web is doing is allowing people to hear things. Allowing people to read things. Allowing people to see things that they would never have otherwise seen. And I think, basically, that’s an incredibly good thing.

Copies have been dethroned; the economic model built on them is collapsing. In a regime of superabundant free copies, copies are no longer the basis of wealth. Now relationships, links, connections, and sharing are. Value has shifted away from a copy toward the many ways to recall, annotate, personalize, edit, authenticate, display, mark, transfer, and engage a work. Art is a conversation, not a patent office. The citation of sources belongs to the realms of journalism and scholarship, not art. Reality can’t be copyrighted.

If a creative person steals your idea, he’s killing his creative ability, if he steals your art, he’s killing his art, if he makes it available to the world, it won,t create de impact you could have created, because it wasn’t from the right source.

I’m calling in one of my birthday presents, Tru,” he says softly. His eyes look opaque, heavy with desire. “What do you want?” My voice is quiet, trembling. Propping himself up on his elbow, I tilt my head back as he looks down at me. He pulls my hair free from its knot, running his fingers through it. “You.” He moves his face close to mine, staying a breath away, waiting for his invitation. “Happy birthday,” I whisper.” Excerpt From: Towle, Samantha. “The Mighty Storm.” iBooks. This material may be protected by copyright.

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.

All trademarks, company names, registered names, products, characters, mottos, logos, jingles and catchphrases used or cited in this work are the property of their respective owners and have only been mentioned and or used as cultural references to enhance the narrative and in no way were used to disparage or harm the owners and their companies. It is the author's sincerest wish the owners of the cited trademarks, company names, etc. appreciate the success they have achieved in making their products household names and appreciate the free plug.

I want to live in a world that knows nothing of resistance

As a copyright free text (including the introduction) we hope it will be reproduced by any means necessary to ensure its wide dissemination.

Create a Piracy Free World fora Creative Tomorrow

The commercialization of molecular biology is the most stunning ethical event in the history of science, and it has happened with astonishing speed. For four hundred years since Galileo, science has always proceeded as a free and open inquiry into the workings of nature. Scientists have always ignored national boundaries, holding themselves above the transitory concerns of politics and even wars. Scientists have always rebelled against secrecy in research, and have even frowned on the idea of patenting their discoveries, seeing themselves as working to the benefit of all mankind. And for many generations, the discoveries of scientists did indeed have a peculiarly selfless quality... Suddenly it seemed as if everyone wanted to become rich. New companies were announced almost weekly, and scientists flocked to exploit genetic research... It is necessary to emphasize how significant this shift in attitude actually was. In the past, pure scientists took a snobbish view of business. They saw the pursuit of money as intellectually uninteresting, suited only to shopkeepers. And to do research for industry, even at the prestigious Bell or IBM labs, was only for those who couldn't get a university appointment. Thus the attitude of pure scientists was fundamentally critical toward the work of applied scientists, and to industry in general. Their long-standing antagonism kept university scientists free of contaminating industry ties, and whenever debate arose about technological matters, disinterested scientists were available to discuss the issues at the highest levels. But that is no longer true. There are very few molecular biologists and very few research institutions without commercial affiliations. The old days are gone. Genetic research continues, at a more furious pace than ever. But it is done in secret, and in haste, and for profit.

If “piracy” means using value from someone else’s creative property without permission from that creator–as it is increasingly described today – then every industry affected by copyright today is the product and beneficiary of a certain kind of piracy. Film, records, radio, cable TV… Extremists in this debate love to say “You wouldn’t go into Barnes & Noble and take a book off of the shelf without paying; why should it be any different with online music?” The difference is, of course, that when you take a book from Barnes & Noble, it has one less book to sell. By contrast, when you take an MP3 from a computer network, there is not one less CD that can be sold. The physics of piracy of the intangible are different from the physics of piracy of the tangible.

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.

Economics itself offers a parallel that explains why this integration affects creativity. Clay Christensen has written about the “Innovator’s Dilemma”: the fact that large traditional firms find it rational to ignore new, breakthrough technologies that compete with their core business. The same analysis could help explain why large, traditional media companies will undermine our tradition of free culture. The property right that is copyright is no longer the balanced right that it was, or was intended to be. The property right that is copyright has become unbalanced, tilted toward an extreme. The opportunity to create and transform becomes weakened in a world in which creation requires permission and creativity must check with a lawyer.

As a youth I enjoyed — indeed, like most of my contemporaries, revered — the agitprop plays of Brecht, and his indictments of Capitalism. It later occurred to me that his plays were copyrighted, and that he, like I, was living through the operations of that same free market. His protestations were not borne out by his actions, neither could they be. Why, then, did he profess Communism? Because it sold. The public’s endorsement of his plays kept him alive; as Marx was kept alive by the fortune Engels’s family had made selling furniture; as universities, established and funded by the Free Enterprise system — which is to say by the accrual of wealth — house, support, and coddle generations of the young in their dissertations on the evils of America.

New media don’t succeed because they’re like the old media, only better: they succeed because they’re worse than the old media at the stuff the old media is good at, and better at the stuff the old media are bad at. Books are good at being paperwhite, high-resolution, low-infrastructure, cheap and disposable. Ebooks are good at being everywhere in the world at the same time for free in a form that is so malleable that you can just pastebomb it into your IM session or turn it into a page-a-day mailing list.

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.

While there are certainly informational spillovers as ideas move from person to person, it is hard to see why in most instances they are not priced. Although it is possible to imagine examples such as the wheelbarrow where an idea cannot be used without revealing the secret, relatively few ideas are of this type. For copyrightable creations such as books, music, plays, movies and art, unpriced spillovers obviously play little role. A book, a CD or a work of art must be purchased before it can be used, and the creator is free to make use of his creation in the privacy of his home without revealing the secret to the public at large. Similarly with movies or plays. In all cases, the creation must effectively be purchased before the “secret” is revealed.

Poets have recently been misappropriating words in order to describe poetry as an economy that, outside the poem itself, has little to do with the dominance of the market but nearly everything to do with the dominance of the state. Across the United States poets have turned to economic models from a basic need to articulatea value for a livelihood dedicated, in whole or in part, to the poetic process. Their wages cannot, of course, be determined in the bear market for free verse.Popular neglect makes it easy for poets to assume that poetry is a gift and not a commodity. Too often they ignore the state's role as mediator between gift and market through the system of grants and copyright.

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.

It is a free software program. You don’t have to pay in order to download and install Python, or implement it on your application. Additionally, it will not cost you a thing to modify or redistribute this programming language, because although it is protected by a copyright, it is distributed with an open source permit.

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.

Copyright

For less than the cost of a standard Windows license, you can download GNU tools and a fresh Linux kernel or good free software which you will enjoy much more.

The Victorian sketches that have come to define Trader Joe’s merchandizing were cost control: books published before 1906 were pre-copyright and so free for Joe to repurpose with a funny caption. He spent hours cutting them out himself at his home easel.

copyleft,” as the free culture position on copyright is sometimes called, is not “left” in the traditional sense.

Free culture advocates have it right that excessive copyright regulation can inhibit creativity, and the current copyright regime is in urgent need of reform. But “free” is not the answer: too many creative endeavors fail due to lack of investment;

Whiting, Fred L., Roswell Revisited. 1990, Fund for UFO Research, POB 277, Mt. Rainier, MD 20712 Send SASE for free summary and list of publications. Stringfield, Leonard, Roswell and X-15: UFO Basics, MUFON Journal, #259, Nov. 1989, pp. 3-7. Friedman, S.T., 1991 Update on Crashed Saucers. MUFON Conference Proceedings, July 1991, Chicago, IL. Available from MUFON, 103 Oldtowne Road, Seguin, TX 78155. Send SASE for info. O'Brien, Mike, Springfield, MO, News Leader, Sunday, Dec. 9, 1990, pp. F 1-4. Randle, Kevin and Schmitt, Donald, UFO Crash at Roswell. Avon, NY, (pb), July 1991. Friedman, S.T., MJ 12 articles in International UFO Reporter, Sept./Oct. 1987, pp. 13-10; Jan./Feb. 1988, pp. 20-24; May/June 1988, pp. 12-17; March/April 1990, pp. 13-16; MUFON J. 9/89. p. 16, MUFON Conf. Proc. 1989. Friedman, S.T., Flying Saucers, Noisy Negativists and Truth, MUFON Conf. 1985, UFORI, see item #3. Keel, John, FATE, March 1990, January 1991. Weiner, Tim. Blank Check: The Pentagon's Black Budget, Warner Books, 1990, p. 273. Extremely well referenced, researched and indexed. Copyright, 1991. Stanton T. Friedman COMMENT Stanton Friedman, a true blue scientist, lets it be known that he seeks only bottom-line, verifiable information from his sources -- names of witnesses, place names, dates, old records -- anything evidential that would convince a hard-nosed skeptic. If

The user-centered innovation process just illustrated is in sharp contrast to the traditional model, in which products and services are developed by manufacturers in a closed way, the manufacturers using patents, copyrights, and other protections to prevent imitators from free riding on their innovation investments. In this traditional model, a user's only role is to have needs, which manufacturers then identify and fill by designing and producing new products. The manufacturer-centric model does fit some fields and conditions. However, a growing body of empirical work shows that users are the

Free Tools   1.        Pixlr.com – a photo editing tool for those who do not have Photoshop 2.       Piktochart – allows you to create your own infographics which are very popular 3.       Pinerly – as long as you pin the image through Pinerly first you can get stats of your pins such as repins, click throughs and more 4.      Picmarkr – you can add a watermark, copyright and logo to your images 5.       Pingraphy – you can schedule your pins with this tool

user-developed innovations for the high-performance sport. The user-centered innovation process just illustrated is in sharp contrast to the traditional model, in which products and services are developed by manufacturers in a closed way, the manufacturers using patents, copyrights, and other protections to prevent imitators from free riding on their innovation investments. In this traditional model, a user's only role is to have needs, which manufacturers then identify and fill by designing and producing new products. The manufacturer-centric model does fit some fields and conditions. However, a growing body of empirical work shows that users are the first to develop many and perhaps most new industrial and consumer products. Further, the contribution of users is growing steadily larger as a result of continuing advances in computer and communications capabilities. In this book I explain in detail how the emerging process of user-centric, democratized innovation works. I also explain how innovation by users provides a very necessary complement to and feedstock for manufacturer innovation. The ongoing shift of innovation to users has some very attractive qualities. It is becoming progressively easier for many users to get precisely what they

The Trans-Pacific Partnership is an international agreement being worked out among 12 countries: Australia, Brunei, Canada, Chile, Japan, Malaysia, Mexico, New Zealand, Peru, Singapore, the United States, and Vietnam. Part of the treaty falls under the traditional heading of “free trade,’’ including efforts to reduce tariffs and end government subsidies. But there are other parts that would increase government regulation, especially when it comes to intellectual property. The United States, in particular, has been pressing for heightened protection of trademarks, patents, and copyrights. The deal would also establish a kind of court system where companies could sue other countries for violating terms. The arguments for TPP

The user-centered innovation process just illustrated is in sharp contrast to the traditional model, in which products and services are developed by manufacturers in a closed way, the manufacturers using patents, copyrights, and other protections to prevent imitators from free riding on their innovation investments. In this traditional model, a user's only role is to have needs, which manufacturers then

In our haste to disseminate news, it should not be forgotten that the Framers intended copyright itself to be the engine of free expression. By establishing a marketable right to the use of one’s expression, copyright supplies the economic incentive to create and disseminate ideas. —Harper & Row Publishers, Inc. v. Nation Enterprises, 471 U.S. 539, 558 (1985)

What are you talking about? You don’t know anything about me.” Her back came up against the door. Bracing his hands above her head, he leaned down and spoke harshly against her ear. “Don’t I, gorgeous? I know you like a lot of tongue when you kiss. I know you hold your breath just before you come. I know your beautiful ass fits into my hands perfectly. I can still feel it there.” Story shivered, her legs weakening underneath her. Yearning, hot and desperate, pulsed between her legs as memories of the previous afternoon broke free to run wild in her mind. Knowing he could so easily determine and satisfy her needs with devastating efficiency only heightened her desire for him. Nurse-chaser or not, nothing could stop her from wanting him now, at this moment in the dark stairwell. Daniel hadn’t yet finished his verbal torture. “I should have left yesterday before I found out how hot you run. But I didn’t. And now I’m fucked.” One hand dropped from the wall to grip the side of her hip, squeezing and releasing. “That exquisite body of yours needs a lot of care and attention. I didn’t even get[…]” Excerpt From: Bailey, Tessa. “Officer Off Limits.” Entangled Publishing, LLC (Brazen), 2013-05-23T10:00:00+00:00. iBooks. This material may be protected by copyright.

What are you talking about? You don’t know anything about me.” Her back came up against the door. Bracing his hands above her head, he leaned down and spoke harshly against her ear. “Don’t I, gorgeous? I know you like a lot of tongue when you kiss. I know you hold your breath just before you come. I know your beautiful ass fits into my hands perfectly. I can still feel it there.” Story shivered, her legs weakening underneath her. Yearning, hot and desperate, pulsed between her legs as memories of the previous afternoon broke free to run wild in her mind. Knowing he could so easily determine and satisfy her needs with devastating efficiency only heightened her desire for him. Nurse-chaser or not, nothing could stop her from wanting him now, at this moment in the dark stairwell. Daniel hadn’t yet finished his verbal torture. “I should have left yesterday before I found out how hot you run. But I didn’t. And now I’m fucked.” One hand dropped from the wall to grip the side of her hip, squeezing and releasing. “That exquisite body of yours needs a lot of care and attention. I didn’t even get a chance to use my tongue on you. I hate not knowing how you taste.” Her head dropped back against the door. When his hand slipped under her dress to run up the outside of her thigh, a moan escaped her lips. Unconsciously, she thrust her breasts upward, in the direction of his mouth. “Yes, I see them, baby. I’d taste you there, too.” Slowly, his hand slid around toward the juncture between her thighs. “You came so quickly for me yesterday, like something out of a fantasy. Were you neglected here?” He ran a knuckle along the seam of her panties. “I know how to make it better.” Excerpt From: Bailey, Tessa. “Officer Off Limits.” Entangled Publishing, LLC (Brazen), 2013-05-23T10:00:00+00:00. iBooks. This material may be protected by copyright.

When Flora got married, she was fourteen. Now she has three kids and the village wells are dry and the nearest reliable water source is a two-hour walk from her home. Here in the Funhalouro District adolescent moms like Flora spend about six hours a day searching for and transporting water. Yesterday she walked three hours to harvest water lilies from a lake so her kids would have something to eat. And what do our most enlightened leaders suggest we do? Switch to e-billing. Buy three LED bulbs and get a free tote bag. Earth has eight billion people to feed and the extinction rate is a thousand times higher than it was at pre-human levels. This is not something we fix with tote bags. Excerpt from: "Cloud Cuckoo Land: A Novel" by Anthony Doerr. Scribd. This material may be protected by copyright.

You feel like you’re going to fall because you’re broken into a hundred different floating pieces,’ she told me. ‘You’re all over the place. You’ve got no rooting. You don’t know how to be with yourself.’ The back wall of my eyeballs finally gave way and tears poured out from the deepest well in the pit of my stomach. ‘I feel like nothing is holding me together any more,’ I told her, my breathlessness punctuating my sentence like hiccups, the stream of my tears on my cheeks as hot and free-flowing as blood. ‘Of course you do,’ she said with a new softness. ‘You’ve got no sense of self.’ So that’s why I was there. The penny dropped. I thought I had a fear of falling, but really I just didn’t know who I was. And the stuff I used to fill up that empty space no longer worked; it just made me feel even more removed from myself. This overwhelming anxiety had been in the post for a while and it had finally arrived, fluttered through the letter box and landed at my feet. I was surprised by this diagnosis; there I was thinking my sense of[…]” Excerpt From Everything I Know About Love Dolly Alderton This material may be protected by copyright.

Table of Contents Title Page Copyright Page Introduction Chapter 1. - The Objectivist Ethics Chapter 2. - Mental Health versus Mysticism and Self-Sacrifice Chapter 3. - The Ethics of Emergencies Chapter 4. - The “Conflicts” of Men’s Interests Chapter 5. - Isn’t Everyone Selfish? Chapter 6. - The Psychology of Pleasure Chapter 7. - Doesn’t Life Require Compromise? Chapter 8. - How Does One Lead a Rational Life in an Irrational Society? Chapter 9. - The Cult of Moral Grayness Chapter 10. - Collectivized Ethics Chapter 11. - The Monument Builders Chapter 12. - Man’s Rights Chapter 13. - Collectivized “Rights” Chapter 14. - The Nature of Government Chapter 15. - Government Financing in a Free Society Chapter 16. - The Divine Right of Stagnation Chapter 17. - Racism Chapter 18. - Counterfeit Individualism Chapter 19. - The Argument from Intimidation INDEX

Smart Contracts What Is A Smart Contract? Complete Guide To Tech And Code That Is About To Transform The Economy-Blockchain, Web3.0, DApps, DAOs, DEFI, Crypto, IoTs, FinTech, Digital Assets Trading By Patrick Ejeke You also might be interested in my BEST SELLER, “METAVERSE” Click the links below… Grab A Free PDF Version OR Get it on Amazon © Text Copyright  Patrick Ejeke 2022 - All Rights Reserved All rights reserved. No part of this guide may be reproduced in any form without permission in writing from the

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.

sunflowers drop seeds for free. just like me. -ON

I did not have anything to do with the disappearances of Ashley and know nothing regarding the case and am completely innocent in all regards

Hachette Book Group supports the right to free expression and the value of copyright. The purpose of copyright is to encourage writers and artists to produce the creative works that enrich our culture.

John Wiley & Sons, Inc. New York • Chichester • Weinheim • Brisbane • Singapore • Toronto This book is printed on acid-free paper. Copyright @ 2000 by Robert A. Carter. All rights reserved Title page photo: Buffalo Bill and the Wild West show cast, c. 1908. (Buffalo Bill Historical Center, Cody, Wyoming) Published by John Wiley & Sons, Inc. . Published simultaneously in Canada No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning, or otherwise, except as permitted under Section 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the Publisher or authorization through payment of the appropriate per-copy fee to the Copyright Clearance Center, 222 Rosewood Drive, Danvers, MA'01923, (978) 750-8400, fax (978) 750-4744. Requests to the Publisher for permission should be addressed to the Permissions Department, John Wiley & Sons, Inc., 605 Third Avenue, New York, NY 10158-0012, (212) 850-6011, fax (212) 850.6008, email: PERMREQ@WILEY.COM. Library of Congress Cataloging-in-Publication Data Carter, Robert A.. Buffalo Bill Cody: the man behind the legend / Robert A. Carter p. cm. Includes bibliographical references (p.. 477) and index. ISBN 0-471-31996-1 (cloth : alk. paper) 1. Buffalo Bill, 1846-1917. 2. Pioneers-West (U.S.)-Biography. 3. Entertainers-United States-Biography. 4. Scouts and scouting-West (U.S.)- Biography. 5. West (U.S.)-Biography. 6. Frontier and pioneer life-West (U.S.) 7. Buffalo Bill's Wild West Show-History. I. Title. F594.B63 C37 2000 978'.02'092-dc2l [B] 00-020368 Printed in the United States of America . . 10 9 8 7 6 5 4 3 2 1. For my two beloved sons, Jonathan and Randy-they, too, are westerners There are many men, but few heroes. -Herodotus

Uncle Amon Books Copyright © 2015 All rights reserved. This book is a work of fiction. Graphics and images used in this book are licensed and © Dollar Photo Club. No part of this book or this book as a whole may be used, reproduced, or transmitted in any form or means without written permission from the publisher. Table of Contents FREE GIFT! Argo Takes Flight Gigi Makes a Friend

Contents Free Book The Magic Money Tree Free Book Please leave a review Also by - Shelly's Plan Also by - Hug Bot Version Five Also by - The New Kid Also by - Orsons Lessons in Wealth Also by - The Ballad of Egg Man Jeff Acknowledgements Connect Copyright

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PUBLISHED BY: Mark Mulle Copyright © 2016 To get a free book and be updated on Mark Mulle’s latest project, click here Other books in The Crafty Zombie Pigman’s Diaries series Part 2 Part 3 TABLE OF CONTENTS

Common sense alone reveals the essential problem that economic theory ignores. Just imagine what would become of a firm that develops computer software or a new pharmaceutical if its product were priced at the cost of making another copy of its program! Bankruptcy would be certain. To prevent such bankruptcy, we grant developers of software or pharmaceuticals protection through copyrights or patents, which limit competition. Because of the longstanding use of these monopolistic arrangements, we readily accept that they are consistent with the principles of free competition. In fact, they are not. More and more, the existence of sunk costs makes industry resemble a software industry without the protection of copyrights or patents. For example, airline bankruptcies have become almost commonplace. Like the railroads of the nineteenth century or the software developer of the twentieth, an airline commits an enormous investment in an industry where the cost of servicing another customer is minimal. As competition drives prices down toward this level, the firm becomes unable to meet its financial commitments. Economic theory as it stands today is irrelevant to understanding this process. Economists may employ scientific tools, such as mathematics and statistics, but they apply them in a context that is questionable at best. Economics purports to be scientific because it grounds its ideology on a rigorous theoretical foundation, but this foundation rests on wildly unrealistic assumptions.

My Evil Twin is Herobrine Book 1: The Big Prank Mark Mulle PUBLISHED BY: Mark Mulle Copyright © 2017 To get a FREE book and be updated on Mark Mulle’s books and latest releases, click here to find out

All the boys are out there looking for a god to thank. We call her boy 'Big Mike' although he's six foot two, And he likes to be the boy behind the barbecue. It's a good time, and a big free-for-all... Or it was until the moment that the zombies came to call. So run for the river, run for the trees, Run faster than the next guy, honey, if you please. We came out to the lakeside for a holiday, Now it seems we're in the wrong in 'predator and prey'. We came out for the fish, we came out for the fun, But we're captives now in the zombie river run. Well, Dave was first to see them, took it for a joke; He was standing by the forest sucking down a Coke. When they grabbed and started chewing he was real surprised, And that's about the time we came to realize That the locals had decided to crash our soiree Despite their state of fairly well-advanced decay. It wasn't very social at all... But that's the crap that happens when the zombies come to call. We tried to hold them off, but they would not turn back, It was another stupid clip from 'When the Dead Attack'. Then Mike got real annoyed and started spitting flames, While Suzy summoned demons by their secret names. Bambi shed her skin and started to constrict, And that's when all those zombies knew that they'd been tricked. We aren't all that normal at all... I guess this is the last time that the zombies come to call. So run for the river, run for the trees, Run faster than the next guy, honey, if you please. We came out to the lakeside for a holiday, Now it seems we're in the wrong in 'predator and prey'. We came out for the fish, we came out for the fun, But we're captives now in the zombie river run. We're a simple little family, and we like our lake, And if you want to make us cranky, that's a big mistake, Because we bring the whole damn family out every year, And we only want our peace -- I hope I've made that clear. It's not hard to form a posse when you've got a brood, And I only hope this warning won't be misconstrued, Because if anybody bugs us at all... You'll be wishing things were clear as when the zombies came to call. Written on: 2006-07-26. “Zombie River Run” Copyright © 2006 Seanan McGuire

This book is printed on acid-free paper. Copyright @ 2000 by Robert A. Carter. All rights reserved Title page photo: Buffalo Bill and the Wild West show cast, c. 1908. (Buffalo Bill Historical Center, Cody, Wyoming) Published by John Wiley & Sons, Inc. . Published simultaneously in Canada No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning, or otherwise, except as permitted under Section 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the Publisher or authorization through payment of the appropriate per-copy fee to the Copyright Clearance Center, 222 Rosewood Drive, Danvers, MA'01923, (978) 750-8400, fax (978) 750-4744. Requests to the Publisher for permission should be addressed to the Permissions Department, John Wiley & Sons, Inc., 605 Third Avenue, New York, NY 10158-0012, (212) 850-6011, fax (212) 850.6008, email: PERMREQ@WILEY.COM. Library of Congress Cataloging-in-Publication Data Carter, Robert A.. Buffalo Bill Cody: the man behind the legend / Robert A. Carter p. cm. Includes bibliographical references (p.. 477) and index. ISBN 0-471-31996-1 (cloth : alk. paper) 1. Buffalo Bill, 1846-1917. 2. Pioneers-West (U.S.)-Biography. 3. Entertainers-United States-Biography. 4. Scouts and scouting-West (U.S.)- Biography. 5. West (U.S.)-Biography. 6. Frontier and pioneer life-West (U.S.) 7. Buffalo Bill's Wild West Show-History. I. Title. F594.B63 C37 2000 978'.02'092-dc2l [B] 00-020368 Printed in the United States of America . . 10 9 8 7 6 5 4 3 2 1. For my two beloved sons, Jonathan and Randy-they, too, are westerners

The user-centered innovation process just illustrated is in sharp contrast to the traditional model, in which products and services are developed by manufacturers in a closed way, the manufacturers using patents, copyrights, and other protections to prevent imitators from free riding on their innovation investments. In this traditional model, a user's only role is to have needs, which manufacturers then identify and fill by designing and producing new products.

Morris Magenta: Creeper Inventor BOOK 6: MORRIS MAGENTA VERSUS EDGAR REJECTER Mark Mulle PUBLISHED BY: Mark Mulle Copyright © 2017 To get a FREE book and be updated on Mark Mulle’s books and latest releases, click here to find out