Using Copyrighted Quotes

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.

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.

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.

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. 

Piracy is robbery with violence, often segueing into murder, rape and kidnapping. It is one of the most frightening crimes in the world. Using the same term to describe a twelve-year-old swapping music with friends, even thousands of songs, is evidence of a loss of perspective so astounding that it invites and deserves the derision it receives.

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.

Any files I give to the model are downsized (typically 800x1200 pixels)... By not giving out my high resolution files, they cannot be used without my knowledge.

Strategic use of intellectual property can give a business several years of protected competitive advantage.

Rather than, say, Toni Morrison, who called basing a character on a real person an infringement of copyright. A person owns his life, she says. It’s not for another to use it for fiction.

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.

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.

Who am I, when all I’ve ever believed myself to be, is fading before my very eyes? Am I still me, or just a shadow of what I used to be? Was I just an illusion that lived only in my head? Did I paint myself as something more than I really am? And with all these changes in my life… What will be left of the woman who dreamed her dreams? When all the colors that she wrapped herself with… are slowly being stripped away… Copyright © Eeva Lancaster

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?

I watched with my eyes, tasted with my tongue, heard with my ears and felt with my fingers as my beautiful girl reached her climax. The only sense I didn’t use as she came apart was that of speech. There were no words to describe her, nor were there ones I could coherently form in the moment; she was a work of art, and I was speechless” Excerpt From: Raine, Miller. “Eyes Wide Open: The Blackstone Affair, Book 3.” Atria Books, 2013-05-13T22:00:00+00:00. iBooks. This material may be protected by copyright.

if you love something or someone, you don’t ever give up on it. Life’s not easy but hold on to the things that matter, even if you have to use some fingernails. I told one of you once that you don’t throw away the things that matter” Excerpt From The Best Thing Zapata, Mariana This material may be protected by copyright.

Ev'ry Voice and Sing”—words by James Weldon Johnson and music by J. Rosamond Johnson. Copyright by Edward B. Marks Music Corporation. Used by permission.

...nothing is more properly a man’s own than the fruit of his study. The protection of literary property would greatly encourage genius and promote useful discoveries.

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.

Every word is Trademarked™, Restricted® or Copyrighted©. The companies and people who own these rights let people use them, but once you turn fifteen, you have to pay.

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.

I believe in aristocracy, though—if that is the right word, and if a democrat may use it. Not an aristocracy of power … but … of the sensitive, the considerate.… Its members are to be found in all nations and classes, and all through the ages, and there is a secret understanding between them when they meet. They represent the true human tradition, the one permanent victory of our queer race over cruelty and chaos. Thousands of them perish in obscurity, a few are great names. They are sensitive for others as well as themselves, they are considerate without being fussy, their pluck is not swankiness but the power to endure … E. M. Forster, “What I Believe,”         in Two Cheers for Democracy             Contents   Cover   Title Page   Copyright   Dedication   Epigraph   Preface   Are You Highly Sensitive? A Self-Test   1  The Facts About Being Highly Sensitive: A (Wrong) Sense of Being Flawed   2  Digging Deeper: Understanding Your Trait for All That It Is

Prometheus, by Kai Bird and Martin J. Sherwin, 2005 Kai Bird and Martin J. Sherwin. Used by permission of Alfred A. Knopf, a division of Random House, Inc.; Unequal Childhoods: Class, Race, and Family Life, by Annette Lareau, copyright 2003 Regents of the University of California. Published by the University of California Press; “Intercultural Communication in Cognitive Values: Americans and Koreans, by Ho-min Sohn, University of Hawaii Press, 1983; The Happiest Man: The Life of Louis Borgenicht (New York: G. P. Putnam’s

The mindsight tripod. Openness, objectivity, and observation are the three processes that stabilize the mindsight lens in order to see and shape the inner world with clarity, depth, and power. With openness, we accept things as they are; with objectivity, we realize that what we are aware of is just one element of our experience and not the totality of our identity; with observation, we have a sense of ourselves as observers witnessing the unfolding of experience as it emerges moment by moment. Copyright © 2010 by Mind Your Brain, Inc. Used with permission by Daniel J. Siegel, M.D., from Mindsight: The New Science of Personal Transformation (2010).

eBooks are not transferrable. They cannot be sold, shared or given away as it is an infringement on the copyright of these works. This book is an original publication of the author who wrote the story herein contained. This is a work of fiction. Names, characters, places and incidents are either the product of the authors’ imaginations or are used fictitiously,

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.

She was a ray of sunshine, a warm summer rain, a bright fire on a cold winter’s day, and now she could be dead because she had tried to save the man she loved. Quote from Grace Willows To Kiss a King Copyright © 2017 by Julie Brookshier and Robin Woods All rights reserved. Except for use in a review, the reproduction or use of this work in whole or in part in any form is forbidden without written permission of one or more of the authors. This is a fictional work. Names, characters, places, and events are merely the product of the authors' imaginations or used fictitiously, purely for entertainment purposes. Any resemblance to actual persons, living, dead, or undead or any business establishments, events or places past, present, or future, is entirely coincidental.

The author and publisher have provided this e-book to you without Digital Rights Management software (DRM) applied so that you can enjoy reading it on your personal devices. This e-book is for your personal use only. You may not print or post this e-book, or make this e-book publicly available in any way. You may not copy, reproduce, or upload this e-book, other than to read it on one of your personal devices. Copyright infringement

requires the permission of Crossway. When quotations from the ESV text are used in non-saleable print and digital media, such as church bulletins, orders of service, posters, transparencies, or similar media, a complete copyright notice is not required, but the initials (ESV) must appear at the end of the quotation. Publication of any commentary or other Bible reference work produced for commercial sale that uses the English Standard

The world spinning. AUTHOR’S NOTE PHILIPPE PETIT WALKED A TIGHTROPE WIRE between the World Trade Center towers on August 7, 1974. I have used his walk in this novel, but all the other events and characters in this work are fictional. I have taken liberties with Petit’s walk, while trying to remain true to the texture of the moment and its surroundings. Readers interested in Petit’s walk should go to his book To Reach the Clouds (Faber and Faber, 2002) for an intimate account. The photograph used on page 237 is by Vic DeLuca, Rex Images, August 7, 1974, copyright Rex USA. To both of these artists I’m deeply indebted. The title of this book comes from the Alfred, Lord Tennyson poem “Locksley Hall.” That in turn was heavily influenced by the “Mu’allaqat,” or the “Suspended Poems,” seven long Arabic poems written in the sixth century. Tennyson’s poem mentions “pilots of the purple twilight dropping down with costly bales,” and the “Mu’allaqat” asks, “Is there any hope that this desolation can bring me solace?” Literature can remind us that not all life is already written down: there are still so many stories to be told.

Believe in Yourself Why must we see something to believe in its existence?The wind itself cannot be seen by man, but all have felt it's gentle touch and watched the mighty trees bow as it swept past. We cannot see love yet its nurturing warmth is the essence of our being and sorrow can touch our very soul. For remorse is like a ripple on the ocean, once given it remains only in the heart of the receiver. Yet all of these cannot be seen only felt. Why then do you doubt your self-worth? For though it cannot cast a reflection in the mirror you have only to look in the eyes of those you love to See it clearly. Prologue To Kiss a King To Kiss a King Copyright © 2017 by Julie Brookshier and Robin Woods All rights reserved. Except for use in a review, the reproduction or use of this work in whole or in part in any form is forbidden without written permission of one or more of the authors. This is a fictional work. Names, characters, places, and events are merely the product of the authors' imaginations or used fictitiously, purely for entertainment purposes. Any resemblance to actual persons, living, dead, or undead or any business establishments, events or places past, present, or future, is entirely coincidental.

Sharpshooters Yeomanry Museum who, with his fellow trustees, have allowed me to use a number of their photographs in this book. I wish them the best of luck as they establish their regimental museum at Hever Castle. I would also like to thank the staff at the Air and Army historical branches who have also been particularly helpful in allowing me to access and use their crown copyrighted images. I would particularly like to single out Jo Bandy and Bob Evans in the Army Historical Branch and Mary Hudson in the Air Historical Branch. I feel I have been blessed in finding an excellent publisher in Helion. Duncan Rogers and his team have been helpful and enthusiastic about the book and made generous allowances for photos, diagrams and maps. I should add that George

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.

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.

Poet's Note: Kindly do not use my poem without giving me due credit. Do not use bits and pieces to suit your agenda of Kashmir whatever it may be. I, Srividya Srinivasan as the creator of this poem own the right to what I have chosen to feel about the issue and have represented all sides to a complex problem that involves people. I do not believe in war or violence of any kind and this is my compassionate side speaking from all angles to human beings thinking they own only their side to the story. THIS POEM IS THE ORIGINAL WORK OF SRIVIDYA SRINIVASAN and any misuse by you shall be considered as a violation of my copyrights and legally actionable. This poem is dedicated to all those who have suffered in Kashmir and through Kashmir and to not be sliced and interpreted to each one's convenience. ---------------------------- Weep softly O mother, the walls have ears you know... The streets are awash o mother! I cannot go searching for him anymore. The streets are awash o mother with blood and tears, pellets and screams. that silently remain locked in the air, while they seal our soulless dreams. The guns are out, O mother, while our boys go armed with stones, I cannot go looking for him O mother, I have no courage to face what I will find. For, I need to tend to this little one beside, with bound eyes that see no more. ----- Weep for the home we lost O mother, Weep for the valley we left behind, the hills that once bore our names, where shoulder to shoulder, we walked the vales, proud of our heritage. Hunted out of our very homes, flying like thieves in the night, abandoning it all, fearful for the lives of our men, fearful of our being raped, our children killed, Kafirs they called us O mother, they marked our homes to kill. We now haunt the streets of other cities, refugees in a country we call our own, belonging nowhere, feeling homeless without the land we once called home. ------------- Weep loudly O mother, for the nation hears our pain. As the fresh flag moulds his cold body, I know his sacrifice was not in vain. We need to put our chins up, O mother and face this moment with pride. For blood is blood, and pain is pain, and death is final, The false story we must tell ourselves is that we are always the right side, and forget the pain we inflict on the other side. Until it all stops, it must go on, the dry tears on either side, Every war and battle is within and without, and must claim its wounds and leave its scars, And, if we need to go on O mother, it matters we feel we are on the right side. We need to tell ourselves we are always the right sight... We need to repeat it a million times, We are always the right side... For god forbid, what if we were not? --- Request you to read the full poem on my website.

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.

p.cm. Includes indexes.ISBN-13: 978-0-7360-6278-7 (soft cover) ISBN-10: 0-7360-6278-5 (soft cover) 1. Hatha yoga.2. Human anatomy.I.Title.RA781.7. K356 2007 613.7’046--dc22 2007010050 ISBN-10: 0-7360-6278-5 (print) ISBN-13: 978-0-7360-6278-7 (print) ISBN-10: 0-7360-8218-2 (Adobe PDF) ISBN-13: 978-0-7360-8218-1 (Adobe PDF) Copyright © 2007 by The Breathe Trust All rights reserved. Except for use in a review, the reproduction or utilization of this work in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including xerography, photocopying, and recording, and in any information storage and retrieval system, is forbidden without the written permission of the publisher. Acquisitions Editor: Martin Barnard Developmental Editor: Leigh Keylock Assistant Editor: Christine Horger Copyeditor: Patsy Fortney Proofreader: Kathy Bennett Graphic Designer: Fred Starbird Graphic Artist: Tara Welsch Original Cover Designer: Lydia Mann Cover Revisions: Keith Blomberg Art Manager: Kelly Hendren Project Photographer: Lydia Mann Illustrator (cover and interior): Sharon Ellis Printer: United Graphics Human Kinetics books are available at special discounts for bulk purchase. Special editions or book excerpts

STAY AN ORIGINAL WORK OF ART In this short lifetime, Why not be -- True to your own voice, Your own story, Your own truths, Your own style, Beat and drum -- Instead of reflect the words, Songs and march of another? Why not use your soul's own Unique language, Instead of constantly try to toot something Not true, suitable or intended For your own instrument, Painting, Song, Or story? Why create an image you cannot produce? And if you can create a brilliant mask, How long will you really be able to hide your true soul Behind it Until its colors and plastic Begin to fade and melt with Time? Do not speak about truth when there is no truth in you. Do not speak about being yourself when you are trying hard to be someone else. Do not keep crying about your pain when you you have no shame creating pain in others. Do not step on truth, or someone else's truth, or someone who fights for truth -- And think there will be no repercussions; For there is more danger in silence, And for every action there will always be a reaction Of opposite or equal measure. Treasure integrity, Treasure your own story and truths. How will people remember you when you want to be an imitation? How will people remember your voice when you want to sound like another? Be so different that everybody will remember you. Be yourself because an original is worth more than a copy. Be true to yourself or your heart will never forgive you; For once you silence the music from your own instrument, Your true purpose and intended path will begin to fade. There is no greater crime Than ignoring your conscience And the truths intended For you to live, learn, And share. So Stay TRUE to YOU In everything You do. That itself is the purest And truest Art. Suzy Kassem, "Stay An Original Work of Art" Copyright 1993, The Spring For Wisdom

They typically start out leading ordinary lives in an ordinary world and are drawn by a “call to adventure.” This leads them down a “road of trials” filled with battles, temptations, successes, and failures. Along the way, they are helped by others, often by those who are further along the journey and serve as mentors, though those who are less far along also help in various ways. They also gain allies and enemies and learn how to fight, often against convention. Along the way, they encounter temptations and have clashes and reconciliations with their fathers and their sons. They overcome their fear of fighting because of their great determination to achieve what they want, and they gain their “special powers” (i.e., skills) from both “battles” that test and teach them, and from gifts (such as advice) that they receive from others. Over time, they both succeed and fail, but they increasingly succeed more than they fail as they grow stronger and keep striving for more, which leads to ever-bigger and more challenging battles. Heroes inevitably experience at least one very big failure (which Campbell calls an “abyss” or the “belly of the whale” experience) that tests whether they have the resilience to come back and fight smarter and with more determination. If they do, they undergo a change (have a “metamorphosis”) in which they experience the fear that protects them, without losing the aggressiveness that propels them forward. With triumphs come rewards. Though they don’t realize it when they are in their battles, the hero’s biggest reward is what Campbell calls the “boon,” which is the special knowledge about how to succeed that the hero has earned through his journey. Joseph Campbell’s Hero’s Journey schema from The Hero with a Thousand Faces (New World Library), copyright © 2008 by the Joseph Campbell Foundation (jcf.org), used with permission. Late in life, winning more battles and acquiring more rewards typically becomes less exciting to heroes than passing along that knowledge to others—“returning the boon” as Campbell called it.

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?

Tongue Twisters for Kids By Riley Weber RileyWeberArt.com © 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.

Arnie Lightning Books Copyright © 2016 by Hey Sup Bye Publishing All rights reserved. This book is a work of fiction. Graphics 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

​All rights reserved.  No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, electronic or mechanical, including photcopying, recording, scanning, or by any information storage or retrieval system, without the prior written permission of the publisher, except in the case of brief quotation embodied in critical reviews and certian other non-commercial uses permitted by copyright.

Commercial firms turned out Claghorn shirts and compasses (the needles always pointed south, son); Delmar cut two Claghorn records, I Love You, That Is and That’s a Joke, Son, and Warner Brothers pirated the concept for use in a series of cartoons. The strutting cartoon rooster, Foghorn J. Leghorn, was an obvious steal from Delmar: the cutting irony, he said years later, was that the cartoons were copyrighted, so that, from then on, “in order to do Claghorn, I had to ask permission from Warner Brothers.

2:20 are from the New International Version. All other Scripture quotations are from the New Revised Standard Version of the Bible, copyright 1989 by the Division of Christian Education of the National Council of the Churches of Christ in the USA. Used by permission. All rights reserved. The selection from the poem “Tourist or Pilgrim” by Macrina Wiederkehr is used by permission of Sister Macrina. The Abba Macarius story and memento mori exercise came from Rebecca DeYoung.

We know the economics of these startups,” Eb says. “We begin with nothing but the idea. That’s what the NDA is for—to protect your idea. We work on the idea together—put our brainpower into it—and get stock in return. The result of this work is software. The software is copyrightable, trademarkable, perhaps patentable. It is intellectual property. It is worth some money. We all own it in common, through our shares. Then we sell some more shares to an investor. We use the money to hire more people and turn it into a product, to market it, and so on. That’s how the system works,

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.

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.

Puzzle graphics used in this book are licensed and © Dollar Photo Club Copyright © 2015 by Hey Sup Bye Publishing.

Within months of building the prototype, he had applied for a U.S. patent. The framers of the American Constitution had understood intellectual property protections as fundamental to the “progress of sciences and useful arts.” Before addressing the freedom of speech or religion through amendments, the American Constitution relegated to the federal government functions such as minting money, maintaining a postal service, and declaring and financing war, and the granting of copyrights and patents to protect “writings and discoveries.” When granted, this formal recognition of the government in effect created property rights out of thin air, based on ideas and abstractions

The question today is not whether you have IP; it is whether you know how to use your IP

Using my music may seem fair to you, but note that music composers have never been dealt a fair card.

iI 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.’ When society hands out the right to the copyright holder, it carves out certain areas of use and refuses to hand over control of them.

are from The Holy Bible, English Standard Version, copyright © 2001 by Crossway Bibles, a publishing ministry of Good News Publishers. Used by

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.

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.

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.

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.

is a work of fiction. Names, characters, places, businesses, organizations, events and incidents either are the product of the author’s imagination or are used fictitiously. Any resemblance to actual persons, living or dead, events or locales is entirely coincidental.     Published by Ray of Joy Publishing Copyright 2015 Rayven T. Hill

in “Wyrd Sisters was plagiarized from Shakespeare.” That was a book of mine and, yes, well, it certainly does add to the enjoyment if you’ve heard of a certain Scottish play and … er … where do I start?) Now add to this the growth of strange ideas about copyright. At one end of the spectrum I get nervous letters asking “Will it be all right if I name my cat after one of your characters?” At the other are the e-mails like: “I enjoyed the story so much that I’ve scanned it in and put it on my Web page … hope you don’t mind.” Copyright is either thought to exist in every single word, or not at all. In short, I began to worry, in this overheated atmosphere, about what would happen if I used a story line that a fan had already posted on the Net or on some fan-fiction Web page.

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

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.

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

Hachette Speakers Bureau provides a wide range of authors for speaking events. To find out more, go to hachettespeakersbureau.com or call (866) 376-6591. The author is grateful for permission to use the following copyrighted material: American Prometheus, by Kai Bird and Martin J. Sherwin, 2005 Kai Bird and Martin J. Sherwin. Used by permission of Alfred A. Knopf, a division of Random House, Inc.; Unequal Childhoods: Class, Race, and Family Life, by Annette Lareau,

You have expressed an interest in the process used to carve detailed feathers on realistic duck decoys. The tools used are the same ones needed to prepare the carving up to this point: flexible-shaft grinder, stone bits, soft rubber sanding disc, pencil, and knife. My intention is to explain the ease with which mastery of this process can be achieved. There are five steps involved: drawing, outlining, and concaving the feathers, stone carving the quill, and grinding the barbs. The key to drawing the feathers is research. Good-quality references have been used in getting the carving to this stage and they will prove invaluable here. When comfortable with the basic knowledge of placement and types of feathers, drawing can begin. As with the actual carving, drawing should be done in a systematic manner. All feathers should be drawn in from front to back and top to bottom. Drawing should be done lightly so that changes can be made if necessary. All of the other steps are determined by what is done here, so the carver must be satisfied before beginning. Outlining creates a lap effect Copyright

two forms of distribution, each release has a PGP signature file associated withit.* Prior to V8.11, this was a single signature file used to verify the uncompressed file, meaning that you needed to uncompress the tar(1) file before verifying it. Beginning with V8.11, there is a signature file for each of the compressed files, so there is no need to uncompress either first. The signature file has the same name as the distribution file but with a literal . sig suffix added.sendmail.8.14.1. tar.gz ← the distribution file sendmail.8.14.1. tar.gz.sig ← the signature file for this distribution file sendmail.8.14.1. tar.Z ← the distribution file sendmail.8.14.1. tar.Z.sig ← the signature file for this distribution file If you have not already done so for an earlier sendmail distribution, you must now download and install the PGPKEYS file from sendmail.org: ftp://ftp.sendmail.org/pub/sendmail/P... After downloading this file, add the keys in it to your PGP key ring with a command like this: pgp -ka PGPKEYS ← for pgp version 2. x pgpk -a PGPKEYS ← for pgp version 5. x gpg --import PGPKEYS ← for gpg If you use gpg(1), your output may look something like this: % gpg --import PGPKEYS gpg: key 16F4CCE9: "Sendmail Security " 22 new signatures gpg: key 7093B841: public key "Sendmail Signing Key/2007 " imported gpg: key AF959625: "Sendmail Signing Key/2006 " 7 new signatures gpg: key 1EF99251: "Sendmail Signing Key/2005 " 9 new signatures gpg: key 95F61771: "Sendmail Signing Key/2004 " 7 new signatures gpg: key 396F0789: "Sendmail Signing Key/2003 " 27 new signatures gpg: key 678C0A03: "Sendmail Signing Key/2002 " 13 new signatures * How public key cryptography is used to sign a file is described in §5.2 on page 1992.2 Download the Source | 43 This is the Title of the Book, eMatter Edition Copyright © 2007 O’Reilly & Associates, Inc. All rights reserved.

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)

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.

Above and beyond this are the time, resources, and energy spent on the training and employment of the overseers of an IP system, as well as the time and money used to apply for a copyright or patent. These are all factors which, had it not been for the IP system, could have gone into products or services actually demanded by the consumer.

The IP system actually serves to suppress ingenuity! But how is this? Well, because as a creator of any sort, one would immediately experience limitations upon what information he would be permitted to use in pursuit of his invention, song, or whatever else he is attempting to create. In other words, the suppression of innovation would take the form of all the information whose use and access would be safeguarded under the auspices of copyright, patents, trademarks, etc. One would not be able to avail himself of the body of many others' work as it would be “protected” by IP and thus become inaccessible or costly to attain.

with the U.S. Copyright Act of 1976, the scanning, uploading, and electronic sharing of any part of this book without the permission of the publisher constitute unlawful piracy and theft of the author’s intellectual property. If you would like to use material from the book (other than for review purposes), prior written permission must be obtained by contacting the publisher at permissions@hbgusa.com. Thank you for your support of the

It’s an interesting thing that we have not copyrighted our ideas about liberty or tried to charge others to use them, or even to credit us when they do so. We’ve given these ideas away freely. To what end? We have not calculated the benefit to ourselves much. Some have said that we do what we do for purely selfish or mercenary reasons, that we fought in Iraq, for example, because of our oil interests. Such views are not only deeply cynical but also fail to account for much else that we do. Are we being self-serving in what we’ve done in Africa to combat AIDS? Are we being self-serving in sending ships and supplies to disaster areas around the world? Unless we are hopelessly bound by cynicism, we have to acknowledge that the United States has been remarkably and consistently generous in sharing what it has, whether material things or ideas.

contained within is the solitary and utter responsibility of the recipient reader. Under no circumstances will any legal responsibility or blame be held against the publisher for any reparation, damages, or monetary loss due to the information herein, either directly or indirectly. Respective authors own all copyrights not held by the publisher. Legal Notice: This book is copyright protected. This is only for personal use. You cannot amend, distribute, sell, use, quote or paraphrase any part or the content within this book without the consent of the author or copyright owner. Legal action will be pursued if this is breached.

photograph by David Burnett Cover copyright © 2015 by Hachette Book Group, Inc. All rights reserved. In accordance with the U.S. Copyright Act of 1976, the scanning, uploading, and electronic sharing of any part of this book without the permission of the publisher constitute unlawful piracy and theft of the author’s intellectual property. If you would like to use material from the book (other than for review purposes), prior written permission must be obtained by contacting the publisher at permissions@ hbgusa.com. Thank you for your support of the author’s rights. Little, Brown and Company Hachette Book Group 1290 Avenue of the Americas, New York, NY 10104 littlebrown.com twitter.com/ littlebrown facebook.com/ littlebrownandcompany First ebook edition: April 2015

PhOne Number:352-587-2948 ADDRESS:407 Lincoln Rd. Suit 10g Miami Beach FL 33139 Miami Realtor, South Beach Realtor, Miami Beach Realto, Miami Real Estate Agent, Miami Beach Real Estate Agent, Miami Luxury Realtor, South Beach Real Estate Agent, Beach Real Estate Agent, MIAMI Association of REALTORS® is not responsible for the accuracy of the information listed above. The data relating to real estate for sale on this website comes in part from the Internet Data Exchange Program and the South East Florida Regional MLS and is provided here for consumers' personal, non-commercial use. It may not be used for any purpose other than to identify prospective properties consumers may be interested in purchasing. Real estate listings held by brokerage firms other than the office owning this website are marked with the IDX logo and detailed information about them includes the name of the listing brokers. Data provided is deemed reliable but not guaranteed. Copyright MIAMI Association of REALTORS®, MLS All rights reserved.

typeset: Katherine Lloyd, The DESK Ebook conversion: Fowler Digital Services Formatted by: Ray Fowler Unless otherwise noted, Scripture quotations are from The Holy Bible, English Standard Version®, copyright © 2001 by Crossway Bibles, a publishing ministry of Good News Publishers. Used by permission. All rights reserved. Scripture quotations marked NIV are from the The Holy Bible, New International Version®. NIV®. Copyright © 1973, 1978, 1984 by International Bible Society. Used by permission of Zondervan. All rights reserved. Scripture quotations marked KJV are from The Holy Bible, King James Version. Library of Congress Cataloging-in-Publication Data Sproul, R. C. (Robert Charles), 1939-   [Ethics and the Christian]   How should I live in this world? / R. C. Sproul.     p. cm. -- (The crucial

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.

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.’ When society hands out the right to the copyright holder, it carves out certain areas of use and refuses to hand over control of them.

NO AI TRAINING: Without in any way limiting the author’s and publisher’s exclusive rights under copyright, any use of this publication to “train” generative artificial intelligence (AI) technologies to generate text is expressly prohibited. The author reserves all rights to license uses of this work for generative AI training and development of machine learning language models.

The recent revelation regarding the unethical sourcing of data for generative AI models highlights a pressing concern in the technology industry. A report20 by Alex Reisner exposed that major tech giants, including Meta, used copyrighted books to train their language models, violating intellectual property rights. Notable authors like Stephen King, Zadie Smith, and Michael Pollan have been victims of this unauthorized data harvesting.

If words are dead ends, then metaphors are doors that I can try to open up. When you compare pain to another thing, those that are listening can fill in the abstraction with their own interpretations. My friend’s pain was a bowling ball and mine is something like a tarantula who’s using my body as her nest. I can feel her pulling up my oesophagus, the lump of her body balancing at the edge of my throat. I swallow her down, but eight legs means she works her way back up again quickly. Fighting the pain is tiring, so eventually I fall asleep and when I wake up there are a few delicious seconds of quiet when I’ve forgotten what’s happened. But then I feel the bristle of her legs scraping against the pink smoothness of my gut and I remember. It seems like a fault of nature that my unconscious mind could be so cruel. Maybe now that I can explain the pain a bit more, those who hear me will share in that feeling? Take some of it away with them?” Excerpt From Notes on Heartbreak: The must-read book of 2022 Annie Lord 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.

General Sherman praised the shows as "wonderfully realistic and historically reminiscent." Reviews and the show's own publicity always stressed its "realism." There is no doubt it was more realistic, visually and in essence, than any of the competing Wild Wests. There were four other Wild West shows that year: Adam Forepaugh had one, Dr. A. W. Carver another; there was a third called Fargo's Wild West and one known as Hennessey's Wild West. Cody criticized all their claims and their use of the words "Wild West." He had copyrighted the term according to an act of Congress on December 22, 1883, and registered a typescript at the Library of Congress on June 1, 1885. The copyright title read: The Wild West or Life among the Red Man and the Road Agents of the Plains and Prairies-An Equine Dramatic Exposition on Grass or Under Canvas, of the Adventures of Frontiersmen and Cowboys. Additional copy was headed BUFFALO BILL'S "WILD WEST" PRAIRIE EXHIBITION AND ROCKY MOUNTAIN SHOW, A DRAMATIC-EQUESTRIAN EXPOSITION OF LIFE ON THE PLAINS, WITH ACCOMPANYING MONOLOGUE AND INCIDENTAL MUSIC THE WHOLE INVENTED AND ARRANGED BY W.F. CODY W.F. CODY AND N. SALSBURY, PROPRIETORS AND MANAGERS WHO HEREBY CLAIM AS THEIR SPECIAL PROPERTY THE VARIOUS EFFECTS INTRODUCED IN THE PUBLIC PERFORMANCES OF BUFFALO BILL'S "WILD WEST" Although the show's first year under enlarged and reorganized management had not been a financial success, at least one good thing had come from it. Also showing in New Orleans that winter had been the Sells Brothers Circus. One of its performers who had wandered over to visit the Wild West lot was Annie Oakley. The story of Annie Oakley's life was so much in the American grain that it might have come from the pen of Horatio Alger Jr., the minister turned best-selling author, who chronicled the fictional lives of poor boys who made good. Ragged Dick: or, Street Life in New York, Ragged Tom, and Luck Moses then married Dan Brumbaugh, who died in an accident shortly afterward, leaving another daughter. When she was seven, Annie frequently fed the family with quail she had caught in homemade traps, much as young Will Cody had trapped small game. In an interview she once said: "I was eight years old when I made my first shot, and I still consider it one of the best shots I ever

Robin Hood is a high-tech and well-made violent action picture using the name of Robin Hood for no better reason than that it’s an established brand not protected by copyright

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.

If your work is good, people are going to copy it. You have to accept that. This is just one part of business that you have to deal with. You can’t let your worries stop you from posting your images online. The art business is a visual one; you have to show the world your work for you to be able to sell it. There are ways to protect your work from copycats and art thieves. The most important is to file copyrights to your artworks. This will give you legal leverage if your work is stolen and being used commercially. I cover this more in the chapter on copyrights. I recommend placing a subtle copyright notice or your signature or logo or name somewhere on the image, where it’s not obstructing the beauty of the art. A few examples of copyright notices are: “Artwork (c) 2017 Drew Brophy” “Artwork (c) Drew Brophy” “(c) Drew Brophy” “(c) Drew Brophy, all rights reserved.

The 'Happy Birthday' song was not legally available for public use until a 2016 lawsuit settlement. Until then, it was copyrighted and you had to pay a license to use it.

Scripture quotations are from the ESV® Bible (The Holy Bible, English Standard Version®), copyright © 2001 by Crossway, a publishing ministry of Good News Publishers. Used by permission. All rights reserved. Material in this book has previously been published in Everyone’s a Theologian (2014). Some material in this book has previously been published as Explaining Inerrancy: A Commentary (1980) and as

The Iron Earl A Valor of Vinehill Novel A Regency Romance K.J. Jackson Copyright © K.J. Jackson, 2019 This book is a work of fiction. Names, characters, places, and incidents are products of the author’s imagination or used fictitiously. Any resemblance to actual events, locales, or persons, Living or dead, is coincidental. All rights reserved. No part of this publication can be reproduced or transmitted in any forms, or by any means, electronic or mechanical, without permission in writing from the author. First Edition: February 2019 ISBN: 978-1-940149-36-3 http

Copyright: Published in the United States by Chloe Sanders / © Chloe Sanders All rights Reserved. No part of this publication or the information in it may be quoted from or reproduced in any form by means such as printing, scanning, photocopying or otherwise without prior written permission of the copyright holder. Disclaimer and Terms of Use: Effort has been made to ensure that the information in this book is accurate and complete, however, the author and the publisher do not warrant the accuracy of the information, text and graphics contained within the book due to the rapidly changing nature of science, research, known and

But we all know that the DSM is at its best a clumsy and imperfect field guide to our foibles and at its worst a compendium of expert opinions masquerading as scientific truths, a book whose credibility surpasses its integrity, whose usefulness is primarily commercial, and whose most ardent defenders are reduced to arguing that it should be taken less seriously even as all of us - clinicians, researchers, and copyright holders alike - cash in on the fact that it is not.

use your knees to pray and worship. not to beg. -ON

Jimmy Giggles Copyright © 2016. All rights reserved. This book is a work of fiction. 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 Benefits of Jokes Funny Knock Knock Jokes Leave a Review

© Copyright 2021 by Janani Sathish - All rights reserved. This document is geared towards providing exact and reliable information in regards to the topic and issue covered. The publication is sold with the idea that the publisher is not required to render accounting, officially permitted, or otherwise, qualified services. If advice is necessary, legal or professional, a practiced individual in the profession should be ordered.- From a Declaration of Principles which was accepted and approved equally by a Committee of the American Bar Association and a Committee of Publishers and Associations. In no way is it legal to reproduce, duplicate, or transmit any part of this document in either electronic means or in printed format. Recording of this publication is strictly prohibited and any storage of this document is not allowed unless with written permission from the publisher. All rights reserved.The information provided herein is stated to be truthful and consistent, in that any liability, in terms of inattention or otherwise, by any usage or abuse of any policies, processes, or directions contained within is the solitary and utter responsibility of the recipient reader. Under no circumstances will any legal responsibility or blame be held against the publisher for any reparation, damages, or monetary loss due to the information herein, either directly or indirectly. Respective authors own all copyrights not held by the publisher. The information herein is offered for informational purposes solely, and is universal as so. The presentation of the information is without contract or any type of guarantee assurance. The trademarks that are used are without any consent, and the publication of the trademark is without permission or backing by the trademark owner.Spells are each reason devices of a wizard or witch; short eruptions of sorcery used to achieve single specific

Your request for round rocks we have processed,” the Principal Nestor of Jul II stated. She dipped her head, with its multilensed eyes, and uncurled a clawed hand-thing. The gesture finished somewhere beyond the pickup range of the commscreen. “But this peet-zah thing I am uncertain. Datafiles indicate it is a Human food. We do not available have this Human food.” Ia smirked. She was taking this call in the briefing room forward of the bridge after a good night’s sleep. “That’s because you are fat, and covered in velvet.” The Nestor lowered her head farther, eye-skins puckering a little. “I do not…Ah. Illogic. You are courting me?” “I’m declaring war on you,” Ia countered calmly. “I think you’re too purple, and you smell when you sneeze.” The Principal Nestor blinked a sideways-sliding membrane over her compound eyes. “Dlmvla do not sneeze. Regrettable it is, you cannot breathe with us. I think you are…metal foot garment. With lactations. For a Human. Anything else?” Ia dipped her head in turn. “Nothing else. I look forward to firing upon your people in unprovoked madness, then inviting you into my home. Thank you for handling my extra request, Principal Nestor. I hope you like the vidshows I used for payment. They’re more than old enough, copyright doesn’t apply.” “Comedy entertainment transcends madness between our species. Copyrights are madness to exist at double the artist’s life. Another point of similarity. Feathery secretions upon you,” the Nestor added. “End transmission.

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.

PROSTITUTION – AN ACT OF SEX (A POEM) BY E.T.H…AINA Hey young girl, Why do you want sex often and often? Oh! Dogs ate your placenta! And now your clitoris is always itchy. Hey little bro, why is your penis always nodding Like a read headed agama lizard? And you always want to insert it somewhere. Lemme open your eyes to some things. Girlie, to you, prostitution is just a practice Of engaging in sexual relations for payment or benefits. Hear this, prostitution is sexual harassment, Sexual exploitation, often worse. You become in your mind what your client does or says. It is internally damaging and disgraceful as he uses you to learn various sex patterns What he can’t do with the girl he truly loves. From Backstairs Boogy to Deep Impact, from the Head Game to Arc de Triomp And from Ladder Loving to the Pinwheel, from Electric Slide to Passion Propeller He uses you like a public convenience – a toilet After all, he pays for your ungodly service. After being used as a sex-slave, You’ll still suffer spiritually – what a pity. Girl, remember when the act of sex takes place, There is a spiritual union. Brotherly, hear this, he that has sex with a prostitute Becomes one body with her. He leaves a part of his DNA in her. Something a condom can’t protect you against. Back to you, young girl. You think sex is just pleasurable You moan – f**k me hard, give it to me, Baby Oh, I’m enjoying it. Oh, I’ve almost reached orgasm Then you cum and he cums – loba’tan! You think it’s over, right? You may not know – but he might be using you to enhance his wealth And your insufficient glory is depleting. Bro, you have done it, ten rounds. Champion! But what has gone out of you If only you have a spiritual eye – then you will be sober. Your sperm has been saved inside a black and red ritual calabash She will use it to boost her fame. Bro, it is finished! Wait, you think it is over, right? What if you contract diseases – chlamydia, HIV and AIDS If things fall apart, you tend to suffer on earth And fire will burn you in heaven. Na me talk ham – so, think ham oooo Copyright @2019 E.T.H…AINA All right reserved: no part of the publication may be reproduced, stored in a retrieval system, or transmitted in any forms or by any means, electronically, photocopy, recording or otherwise, without the prior written permission of the poet -E.T.H…AINA (hercules_temitope@yahoo.com)/+2348184171204

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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

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.