text:
Forget copyright! We've always stolen music
The politics of copyright place the interests of big business over fans, the public -- and artists
By Alex Sayf Cummings
April 29, 2013 1:00AM (UTC)
(dubassy via Shutterstock/Salon)
Excerpted from "Democracy of Sound: Music Piracy and the Remaking of American Copyright in the Twentieth Century"
Copying and property have always functioned in dynamic tension. The music and movie industries may like people to believe that the morality of copyright is absolute and self-evident — "You wouldn't steal a car," they say, so why would you steal a movie? — but history tells us that what is acceptable one day may be wrong the next. What is "free as the air" today, as Justice Louis Brandeis put it in 1918, may be property tomorrow. A vendor may sell t-shirts featuring 50 Cent's face at a flea market in North Carolina without expecting reprisal for using the photographer's intellectual property or the rapper's likeness. The same vendor may run afoul of the law for selling bootleg CDs of 50 Cent's music, even though "Fiddy" himself rose to prominence by hawking borrowed sounds on the streets of Queens and Manhattan.
A degree of copying will always be permissible, within certain limits. As others have taken pains to point out, all creativity involves referencing or riffing off of the ideas of others, whether it means quoting a line or borrowing a chord progression or incorporating a sample from another work. Just as importantly, some uses will always fly under the radar, failing to attract the interest of intellectual property owners who are too busy litigating against more lucrative offenders. The record industry paid little attention to jazz bootleggers until their success revealed the commercial viability of reissues, while hip-hop labels tolerated the use of unauthorized samples on DJ mixtapes as long as the free publicity seemed to justify a policy of benign neglect.
Such skirmishes tend to muddy the lines between the sanctity of property rights and the moral turpitude of piracy. Some copiers are profiteers, but others are not. Businesses and rights owners often seek to squelch unauthorized use of their works, but sometimes they look to piracy for cues about new sources of value and even potential benefits from the circulation of sound. These ambiguities, say critics, mean that intellectual property law itself is fundamentally flawed. Demers, among others, has pressed the case for "transformative appropriation," suggesting that some uses of recorded sound should be permitted under the law as recontextualizing or otherwise changing the works they draw upon, unlike the commercial pirate who merely counterfeits a work that is already widely available. Lee Marshall has argued that bootlegging — meaning, in this case, copying live recordings — should be viewed differently than outright piracy, since bootlegs cater to fans and supplement the market for music with a product that does not already exist. They do no harm, in this view, and they arguably do good by documenting music that would otherwise never be heard again.
Both arguments have their merits, but they ignore conceptual and technical difficulties that resist easy resolution. Should judges — or even worse, lawmakers — get to decide which uses are creative and which are merely exploitative? When rapper Biz Markie sampled Gilbert O'Sullivan's 1970s hit "Alone Again, Naturally," the Southern District Court of New York held him liable for copyright infringement, while 2 Live Crew found that their use of Roy Orbison's "Pretty Woman" in a raunchy rap song qualified as a creative form of parody in a landmark 1994 Supreme Court case. Is one a "transformative appropriation," and the other theft? The difference between the two cases shows the sometimes arbitrary nature of copyright. Markie used the actual sounds of O'Sullivan's recording, whereas the music publisher Acuff-Rose targeted 2 Live Crew only for infringing Orbison's written composition. Lifting the signature melody and riff from "Pretty Woman" for the purposes of parody was more acceptable than copying sounds directly from a recording — a distinction that reflects, in part, the less privileged status of written music in copyright law.
Critics of intellectual property law see both examples as "transformative," suggesting that musicians should be no more limited in quoting from other recording artists than I am from quoting another author in this text. But where does transformation begin and end, and how can the demands of rights owners and sound users be reconciled? A mixtape or pirate record may reveal the unique touch of the person who chose the track sequence, picked a title and designed a cover, without necessarily transforming the sounds contained on the CD, LP or tape to a great extent. The history of bootlegging contains many examples of pirates who imprinted their own sense of humor or critical perspective on records that contained live performances or merely rearranged previously released tracks in a new context. Does this creativity deserve respect, as well as legal sanction?
The satirical newspaper The Onion ribbed defenders of sampling in 1997 when it reported a bogus story about rapper Sean "Puffy" Combs sampling Michael Jackson's "Billie Jean" for a song called "Tha Kidd (Is Not My Song)." The joke was that Puffy did not simply use part of the Jackson hit in his new song:
"When I was in the studio mixing and recording, I decided 'Tha Kidd' would work best if I kept all the music and vocals from the original version and then didn't rap over it," Combs said. "So what I did is put in a tape with 'Billie Jean' on it, and then I hit record. The thing turned out great."
The article, of course, poked fun at the rapper's penchant for lifting famous bits from artists like Diana Ross and the Police to make his own hits. Would he have been more of a pirate if he copied "Billie Jean" note for note? Appropriation artists like Sherrie Levine and Kenneth Goldsmith have made a name for themselves by copying works as different as the photographs of Walker Evans and an issue of the New York Times to create "new" works that are nearly identical to the originals, receiving praise for "recontextualizing" the works of others. Why not Puffy?
Piracy as Economics
These examples merely go to show that distinctions between transformative and exploitative copying are highly subjective, defying easy categorization. The culture of piracy has been too protean, too varied, and too multifaceted for critics of copyright to easily define some uses as good (sampling in hip-hop) or bad (commercial piracy), or for supporters of property rights to defend their preferred position that all copying is always bad. Battles over piracy have polarized businesses, musicians, politicians and listeners into camps that admit little in the way of mutual recognition, diminishing the potential for a discussion about how copying and copyright have historically constituted each other. If, as the anarchist philosopher Pierre-Joseph Proudhon said, "property is theft," it may be true that theft is also property — or rather that theft produces the need for property rights. Property only exists as a creature of the contests over resources that produce law and legislation. Piracy prompted record companies, musicians and music publishers to push for new rights, and its persistence continues to shape how the intellectual property regime evolves, for good and ill.
Piracy also shows the demand for products that the market might not otherwise produce while pioneering new ways in which music can be distributed and experienced by listeners. Playing records on the radio was, after all, a kind of unauthorized reproduction of sound. The medium not only offered new outlets for sound to be reproduced and heard for "free," it also provided musicians a means for finding audiences and record labels for promoting their recordings, although the industry, at first, feared that the medium would substitute for record sales rather than supporting them.
Unauthorized reproduction expanded in the early 21st century on a scale that equaled or surpassed even the potential of radio to mass produce sound. Whether in the form of MP3s attached to emails, torrents on file-sharing networks, or uploads to YouTube, this ceaseless churning of sound reveals two key points: Music is more abundant than ever before, and the demand for it remains huge, despite the flagging fortunes of the record industry. The 13 labels that filed suit in 2010 for $75 trillion based their figure on collecting damages for every infringement — that is, counting every time someone downloaded or uploaded a file from Limewire as an offense, just as an earlier pirate might have paid damages for every copy of an unauthorized record pressed and sold. The figure, of course, far outstrips the number of legitimate record sales during the same period, or any period in the history of the record industry. It reflects not just the industry's penchant for exaggerating figures, but the power of new media to make a wider variety of music available at a greater order of magnitude than earlier technologies. Compared to the solitary efforts of a musician and the mass production of the record-pressing plant, this new media infrastructure is even more prolific.
Piracy, then, heralded a move from mass production to mass reproduction. Pirates always multiplied the offerings of the market, whether they used home disc engravers in the 1930s, custom-pressing services in the 1940s or a battery of tape decks in the 1970s. Listeners captured opera and jazz performances from the radio and shared them with friends, creating new "products" that neither the radio station nor the performers intended to produce. Sound engineers could make money on the side by leaking tapes of unreleased recordings from sessions with popular performers, and these outtakes — alternative renditions of songs officially released or new compositions that the artist or company chose not to market, for whatever reason — went into circulation, held under the counter at record stores or sold out of the backs of vans next to college campuses. Concert performances became recorded documents and new commodities. These records often took on a plain, unadorned quality that resembled "burnt" CDs, the homemade discs labeled by listeners with Sharpie pens.
Bob Dylan's "Great White Wonder" was the quintessential model of the blank, homemade bootleg aesthetic, and his "output" in the 1960s tells the story. In 1968, the following Bob Dylan albums were on the market: "Bob Dylan," "The Freewheeling Bob Dylan," "The Times They Are A-Changin'," "Another Side of Bob Dylan," "Bringing It All Back Home," "Highway 61 Revisited," "Blonde on Blonde" and "John Wesley Harding." With the bootleg boom of 1969, these eight records were joined by "Great White Wonder," "Flower," "Stealin'," "The Gaslight Tapes" and numerous other samizdat works. There were literally more records on the market than before, more than a single profit-maximizing label would release in so short a time. Record companies believed that the value of their official releases was diminished by competition from cheaper, pirated versions, and they worried that the availability of additional works (such as live bootlegs) would dilute the value of their contracts with artists.
By exploiting the productive capacities of new media, pirates and bootleggers threatened to swamp the market with more music, lowering prices and lessening the incentive for labels to sign the stars and hype the hits. The perennial business model of the music industry — scoring one hit for every nine flops — depended on heavily promoting the popular artist to the public, by means both legal (advertising) and illegal (payola). In 1971, the industry seriously worried that the practice of spending over $500,000 to record and market an album could not survive in the face of widespread unauthorized reproduction by consumers and pirate competitors.
Record labels and pirates presented two very different ways of making and distributing music, and scholars have attempted to describe this difference in terms of a broader change in economic production since the 1970s. The 20th century recording industry was a perfect example of a Henry Ford-ist mode of production that relied on economies of scale to provide a standardized product to a mass audience. Advertising was key to creating the celebrity performer with the giant following and platinum record sales. In contrast, piracy exemplifies the new forms of production that emerged in the late 20th century, organized around small batches of goods that were often customized to fit demand. Toyota, for instance, introduced its just-in-time system that eschewed mass-producing parts ahead of time in favor of a leaner, faster system that only produced goods as they were needed.
File-sharing networks function in much the same way — particular, customizable and flexible, affording greater choice and diversity than is available on the established market for music. Research by Big Champagne, a company that monitors online file sharing, shows that most users have only a few songs by each artist on their computers, but the range of artists runs the gamut from old to new, from Led Zeppelin to Lil Wayne and TI to Tim McGraw. Some users have dozens or hundreds of songs by a particular artist, while dabbling in the catalogs of numerous musicians who would rarely be heard on the same radio station or found on the same store shelves. The U.S. Government Accountability Office estimated in 2010 that only one in five illegal downloads actually substituted for a potential record sale, which suggests that as many as 80 percent of downloads involved music that users would not otherwise purchase. The system suits both the casual listener, with a broad but shallow interest in many artists, as well as the "completist" who seeks every single work by a particular artist.
Piracy actually anticipated these innovations in production and distribution. Bootlegging in the 1930s and 1940s demonstrated some of the qualities that theorists later attributed to the post-Fordist economy, yet these practices occurred in the heyday of mass media and standardized factory production. Enterprises like the Hot Record Society and Jolly Roger offered consumers more-specialized products, produced in smaller runs than RCA-Victor, a large, vertically integrated firm considered profitable in the 1950s. In this sense, bootlegging prefigured the "Long Tail" concept that former Wired editor-in-chief Chris Anderson introduced in 2004. Anderson pointed out how online retailers Amazon and iTunes could afford to make books and music available that would appeal to only a very small number of consumers; whereas traditional stores maximized profit by allocating scarce inventory and shelf space to the best-selling goods, the lower costs of stocking and distribution enjoyed by iTunes permitted its parent corporation, Apple, to reap additional income by catering to a wide array of small niche interests. Each additional audio file hosted or sold on iTunes poses little marginal cost to the company.
These new business models are only new in the sense that the established music industry has begun only recently — and reluctantly — to embrace them. Businesses such as iTunes provide a greater variety of choices than a Target or Tower Records could manage to stock on their shelves by exploiting economies of scope, answering the complaints long voiced by collectors and other enthusiasts that record labels and retailers saw little to be gained by providing the obscure music that they desired. For much of the 20th century, piracy fulfilled this demand, making up for the inadequacies of the legitimate market. Similarly, pirates made music and other goods available in the developing world to consumers who otherwise could not obtain them. In both instances, piracy filled in the cracks between official supply and real demand.
The Politics of Information
The record industry has, of course, more often attempted to squelch this demand rather than cater to it. It won political support for punitive antipiracy measures by arguing that government had to protect sectors such as music and film in the interest of promoting economic growth, at a time when manufacturing was beginning to decline in the United States. Judith Stein and other scholars have examined the political ascendance of post-industrial interests in the 1970s and 1980s, documenting how policy makers embraced tax reforms, deregulation and other programs that benefited industries in the FIRE (finance, insurance and real estate) sector. The rise of an important political coalition behind intellectual property rights was but one part of this ideological and rhetorical shift toward an "information society" that favored certain kinds of businesses to the diminution of manufacturing.
The idea of an information revolution first appeared in the early 1960s, soon after journalists and scholars began to speculate about a postindustrial society. Promoted by Madison Avenue, the revolution was eventually embraced by academics, policy makers and technology giants such as IBM. The future of the American economy did not reside in heavy industry and mass production, but, rather, in automation, computers and the production of information — the copyrights, patents and other forms of knowledge that made it all possible. While some optimists looked forward to a day when automation allowed Americans to create more with less labor, and thus enjoy greater leisure, the central premise of information politics was the greater importance of information over labor, manufacturing or any other concerns. This assumption — widely accepted yet rarely questioned — has become an article of faith among academic theorists, as in Manuel Castells's influential formula of the information society as "a specific form of social organization in which information generation, processing and transmission become the fundamental sources of productivity and power." In an oft-cited 1977 study, economist Marc Uri Porat estimated that 53 percent of Americans already worked in information jobs (according, of course, to his own categorization). If one accepts the premise that information is the key to the entire economy and that a majority of workers' jobs depend on it, then taking measures to protect information or intellectual property makes plain sense.
Only in the 1960s, though, did lawmakers and jurists at every level begin to view the economic imperative of protecting investments made by record labels and other entertainment companies as paramount. A few politicians, such as Rep. Abner Mikva (D-Ill.) and Sen. Philip Hart (D-Mich.), questioned whether stronger copyright would actually favor consumers, but skepticism about copyright was much scarcer in the 1970s than before. The change in attitudes occurred as rock music, magnetic tape and the counterculture set off the bootleg boom of the late 1960s. It was also the result of a subtle shift in the understanding of property rights that had evolved during the long period when sound recordings were not protected by copyright, as jurists sought an alternative rationale for protecting records that focused on the value companies had already invested in producing and popularizing records. The argument for protecting recordings depended on the investment of time, labor and money into the product itself, not on the concept of a limited incentive that had traditionally shaped copyright. It committed the state to preserving what later generations would call "brand value."
Representatives of a so-called copyright industry pitched stronger property rights as a vital tool for economic development. Movie studios and record labels, in particular, have routinely pressed Congress for stricter protection of their goods. For example, in 1982 Congress considered a bill to stiffen the penalties against piracy of music and movies. The deliberations over copyright infringement occurred against the backdrop of a wrenching recession in 1982, when jobs involving services and information technology were among the only sectors showing signs of growth. Copyright interests positioned their own businesses as vital to the nation's economic well-being. Disney's Peter F. Nolan argued to Congressman Barney Frank (D-Mass.) that his company depended on a longterm return on its investment in animated films, which it re-released for new audiences of children every few years. Piracy threatened this business strategy. "You can see that a lot of jobs and a lot of investment capital are riding on your bill," he concluded. Politicians increasingly linked strong enforcement of intellectual property rights to the economic health of an emergent information economy, and in the 1990s Bill Clinton made growing "information-based jobs" a key priority of his administration.
The ascendance of intellectual property coincided, ironically, with the success of politicians like Clinton and Ronald Reagan, who decried "Big Government," as well as a substantial expansion of government intrusion into the lives of Americans. This twist in American political culture reflects the strange heritage of the 1960s — a continued tension between the emerging New Right, with its focus on the economic prerogatives of business, and the anarchistic, hedonistic idea of liberation that germinated in the era's counterculture, of which piracy was one exuberant part. The rhetoric of the "free-market" imagined freedom as low taxes and deregulation, while a distinct subculture flourished in Silicon Valley that emphasized liberation through technology, championed by boomer activists such as Richard Stallman and John Perry Barlow, the former Grateful Dead lyricist who helped popularize the slogan "Information wants to be free." Although the conservative freedom agenda has experienced greater legislative success, the free-information movement has found expression through influential outlets like Wired magazine and political vehicles such as the Electronic Frontier Foundation (EFF).
In fact, the conservative economic program — known to scholars as "neoliberalism" — has been misunderstood by many of its critics as being fundamentally antistatist. Intellectual property law was only one dimension of an American state that increasingly intervened in citizen's lives during the 1980s and 1990s. In theory, neoliberalism represents the small-government platform of Reagan, Thatcher and Bush, politicians who espoused the greater virtue and efficiency of the private sector over the state. In practice, neoliberalism has become a catch-all category for all things opposed by the Left, even as "neoliberal" leaders pursue a jumble of policies seemingly unrelated by a central theme; consider, for example, the administration of President George W. Bush, which endorsed "small-government" policies like tax cuts and privatization while expanding military spending, government surveillance and federal intervention in education. Neoliberalism often represents "a further blurring of the line between the state and the economy rather than a rolling back of the public sector," journalist Daniel Ben-Ami observed in 2011. "Indeed, in some respects it involves an extension of state involvement in businesses."
Ben-Ami is right not to take rhetoric of small government and free markets at face value. Far from ushering in the death of the state, the neoliberalism of the late 20th and early 21st century pruned the functions of government in some ways, such as social welfare, but bolstered them in others — providing subsidies for favored taxpayers and businesses, protecting sectors such as finance and entertainment, and controlling the bodies of workers and consumers in newly invasive ways. Its policy prescription amounted to "state protection and public subsidy for the rich, market discipline for poor," as Noam Chomsky observed in 1995. Lawmakers passed more stringent penalties for copyright infringement at the same time that laws regulating drugs and immigration became vastly more punitive. People who trafficked in certain goods and services could expect to face years in prison, thanks to mandatory minimum sentencing and other measures designed to "get tough" on crime. Congress considered one of the earliest mandatory minimum bills the same year it passed the seminal Copyright Act of 1976.
Drug dealers and pirates, of course, were likely not the people politicians had in mind when they lauded small business. Indeed, poor communities and people of color have borne the brunt of the push for more aggressive law enforcement, yet few scholars have looked at the intensification of intellectual property law as part of the same repressive zeitgeist. One need look no further than the case of Ousame Zongo, an immigrant from Burkina Faso who in 2003 was shot dead in New York after being wrongly suspected of hiding pirate CDs in a Chelsea storage locker, for confirmation of how real the regime of copyright enforcement has become.
Zongo's murder was remarkable, even atypical of the war on piracy — more the result of racism and a culture of police violence than of overzealous copyright enforcement, perhaps. Yet it speaks to the tragic futility of a debate that has raged from the days of piano rolls and wax cylinders to global struggles over trade, the Internet and intellectual property rights. Political action put the state squarely behind the protection of copyright by the 1970s, and law enforcement has labored to curb piracy without ever fully stopping it. Unauthorized reproduction continues — not just online or in Pakistan or Nigeria, but on the counter of an Atlanta gas station that sells clearly bootlegged copies of Nicki Minaj CDs for $3.99 a piece, in full view of the police officers who frequent the store. When a friend tells me about some new music she has, she says I can "steal" it from her, meaning I can connect a USB drive to her laptop and transfer the files to my own computer. "Stealing" has taken on a humorous and altogether ordinary connotation in the context of music. Piracy is, of course, less amusing when a man senselessly loses his life in the quest to protect the record industry's property rights and revenue.
Like the War on Drugs, the war on piracy has fallen far short of its goals. The gap between laws and norms is especially disquieting, as Lawrence Lessig has argued. Despite strong legal sanctions against drug use, studies suggest that Americans are more likely to smoke marijuana than citizens of the Netherlands, with its notoriously permissive drug laws. The behavior lacks the social stigma that policy makers might have wished for when they passed laws forbidding the production and sale of cannabis. Similarly, strict intellectual property laws did not deter millions of Americans from copying music, file sharing or buying bootleg CDs. Cynicism about the music industry lingered with the public, as some users of online file sharing continue to express little guilt about piracy, seeing it as a way of "getting back" at record companies. Piracy is a problem that may not be solved by law or moral exhortation.
A compromise remains possible between the desires of listeners and the interests of rights owners, particularly artists. Since 2001 the organization Creative Commons has promoted the use of alternative licenses, which allow artists and companies to opt out of copyright law by permitting others to use their work in any number of carefully defined commercial and noncommercial ways. Another opt-out system prevails on sites such as YouTube, which contain numerous creative works that have not been cleared for use by copyright owners. Rights owners can ask the site's managers to remove their material if they wish. A good deal of live concert footage, TV clips, music videos and other work remains online in any case, since some artists may not oppose their performances being available and some companies may not notice or care that the material is posted.
Fittingly, the innovations of social media arise, at least in part, from the world of music. Piracy prefigured the emergence of online social networking, as evidenced by the web of relationships through which Grateful Dead fans have recorded, copied and exchanged tapes since the 1970s. These practices are rooted in an ancient, yet oft-forgotten, dimension of musical experience that is primarily social. People see musicians as part of an audience, sing as part of a choir, listen to records or the radio together and share music to forge relationships and signify their own tastes and identities. In some ways, the rise of recording diminished these social, interactive aspects of music, in much the same way that recording made individual musicianship less essential for people to be able to experience music. Music becomes private; one can sit and listen to a record in a room alone, with no presence other than the sound of the absent musicians. Music historian William Howland Kenney argued that this private aspect of recorded music should not be overemphasized, though, as people continued to encounter music as part of a group experience through radio, jukeboxes and other media.
Yet the music industry has long wished to control how consumers used its products, preferring an ideal relationship in which the purchaser is the only one licensed to enjoy the written or recorded music he purchased. As a congressman summed up the industry's viewpoint in 1906, "The property itself does not carry the right to use it." Music publishers lobbied to deny churches the right to share sheet music with each other in the early 20th century; labels sought to bar the playing of records on the radio in the 1930s; and the industry later warned consumers that copying and sharing tapes was illegal, even when it was not. If nothing else, piracy has catered to a desire to connect with others through music — a desire that swelled and broke out into the open in the age of Napster and YouTube.
Such networks showed that people could produce, distribute and consume creative works without the traditional intermediaries of talent scouts, record executives or broadcasters. Without the help of a label and its promotional budget, obscure artists could cultivate followings by presenting their music online as individual tracks or videos, which circulated through music blogs, social networks and video hosting sites. These developments undercut much of the rationale for record companies' ownership of recordings, which was based on the notion that money spent on production and promotion created a value that the companies alone deserved to exploit. Songwriters, musicians, radio stations and other interests had long contested the right of labels to own recordings and act as arbiters of access to music, and they only acquiesced to this right in the face of rising piracy in the 1960s and 1970s. As new forms of music distribution supplant the role of labels, unauthorized reproduction may yet prove to be the undoing of those rights.
Not all artists view sharing as bad. They may want their music to be heard, like the music publishers of the early 20th century who paid pluggers and vaudeville artists to familiarize audiences with their songs by playing them. Hip-hop DJs sometimes saw bootleggers as the unofficial manufacturers of their work, ensuring that mixtapes ended up on the streets and in the hands of retailers, radio stations and other important audiences. When the Supreme Court considered the case against the file-sharing network Grokster in 2005, numerous artists on small labels expressed concern that they would lose an outlet for their music. "I look at it as a library," Jeff Tweedy of the band Wilco said. "I look at it as our version of the radio." Wilco freely offered recordings on its website for months before releasing a new album, and, like the Grateful Dead, the band favored taping of concerts by fans. A 2007 study of file sharing tentatively suggested that such networks helped independent musicians overcome their lack of promotion and distribution by making their music more easily accessible. The result was more recordings from independent labels making it onto the charts. "If anecdotal evidence is correct in suggesting that minor labels have utilized file-sharing networks to popularize their albums," the study's authors surmised, "then the majors have an added incentive to fight file sharing." For a small artist or firm, "piracy" could be just another word for "distribution" or "promotion."
Early in the 21st century, the record industry sought to quash competitors such as Limewire, MP3.com and the maker of the first MP3 player, Diamond Multimedia, each of which offered different vehicles for bringing music to listeners. Some of these firms worked out deals with independent artists and labels, offering free MP3 downloads to curious listeners and valuable exposure to little-known performers. In 1999, MP3.com even began working with the group Emerging Artists and Talent on a deal that would give musicians a 50 percent royalty on any CDs sold through the site, a much higher rate than most artists received from the major labels. However, litigation soon ended these experiments as MP3.com and the file-sharing networks that followed it were steadily dismantled.
A subsequent wave of new enterprises emerged to resolve the conflict between rights owners and file-sharing networks. Online streaming services such as Pandora and Spotify create the same sensation of free music — choosing anything you want, the surprise of getting something for nothing — that Napster once provided, except with the consent of record labels. In Spotify's case, it took two years for the service to clear legal hurdles in the United States after becoming available in Europe. Such services offer a diverse supply of music to listeners as an ad-supported free service or without ads for a monthly fee. If the music industry is the thesis and piracy is the antithesis, social media and online streaming sites offer a kind of synthesis — driven by user choices and based on a model that does not necessarily involve the sale of a good but instead the provision of a service that makes music readily and widely accessible. The idea of the information economy, as advanced by businesses and politicians, maintained that sound must be protected from theft just as a book on a bookstore shelf is, whether by antipiracy mechanisms or the threat of prosecution. In the emerging media environment of the early 21st century, however, selling a disc or even an MP3 may not be the dominant way that people receive and experience music or that artists make money. A new model may look more like radio, offering free access to sound, than the traditional recording industry that manufactured and sold sound as a scarce good.
Such a reorganization of the industry has profound implications not only for how music is produced and distributed, but what kinds of music survive and prosper. For much of the last century, conventional wisdom held that nine out of ten records failed to make a profit. This arrangement meant debt and oblivion for many artists and, for labels, pandering to the lowest common denominator in the hope of scoring a hit. Some independent artists could make a living by setting up their own miniature version of a major label, as folk singer Ani Difranco did with her Righteous Babe Records in the 1990s, yet they still faced the same barriers of access to reaching radio listeners and consumers. A service-oriented music business at least holds the potential for a broader, more diverse array of musicians to find an audience, without relying as much on record labels and hype to survive.
Yet nothing is assured. The likes of Spotify may fail in the marketplace or the courts, and new middlemen may emerge to take advantage of artists in new, innovative ways. Jazz polymath Herbie Hancock expressed this worry amid the Napster controversy in 2001, when the outcome of the RIAA's lawsuits remained unknown. "Excuse me," he declared, "but just because record executives give artists a bad deal doesn't mean everyone else can then go and do worse." Music blogs that review and distribute free MP3s may exploit the free labor of emerging artists for profit, and companies such as Pandora may take the place of record labels and radio stations as the gatekeepers of popular culture.
Whatever shape the industry itself takes, the history of recorded sound suggests that unauthorized copying and sharing will persist in its own unpredictable and shifting ways. In 1995, the Clinton administration hoped to stop copying entirely, worrying that "just one unauthorized uploading of a work onto a bulletin board ... could have devastating effects on the market for the work," yet the idea of preventing any item from ever being shared is unrealistic in the context of a culture and an economy that thrive on the unencumbered communication of ideas and expression.
Legal scholar James Boyle has described the expansion of intellectual property rights in the 20th century as a "second enclosure movement," comparing new laws to the privatization of the countryside in early modern England that denied peasants their traditional right to share and use the land as a commons. Indeed, when corporations asserted new kinds of property rights, they resembled the politicians, foresters and landowners who fenced in the backwoods of the American South in the late 19th and early 20th centuries — land that rural people previously used as an open territory for grazing hogs and cutting timber to support their modest, isolated homesteads. Felling a tree did not constitute stealing when the land under it belonged to no one in particular, and the land became property only when others saw a potential value there and put a fence around it. In his work on the Southern countryside, historian Jack Temple Kirby showed how law ultimately extinguished a whole social world of shared resources, mutual aid and self-sufficiency. The way of life of many rural Southerners was gone, supplanted for the prerogatives of those who desired orderly, efficient production for the market.
Like any analogy, a comparison between the fencing in of the countryside and the growth of intellectual property is neither perfect nor exact. A creative work "belongs" to an artist more plainly than a patch of land belongs to any interested party — the artist made the song but the property owner did not make the land. But the battle over piracy does resemble historic examples of enclosure in the sense that it placed a logic of economic utility and property rights against an array of spontaneous and organic relations of production, exchange and consumption. In the case of recorded sound, anti-piracy efforts attempted to curtail the web of social relations through which so much of the meaning and value of music emerges — the desire for it, the sharing of it and the surprises piped through illicit and unofficial channels of sound. Fighting piracy, home taping and file sharing means fighting demand rather than satisfying it.
Such an outcome is not just an instance of market failure. It is also a failure of political imagination. Uncritical support for intellectual property rights places private interests high above those of the public. When an individual's or corporation's right to maximize profit becomes the only goal of public policy, any stake the broader community may hold in the vast store of human creativity, whether music, art, writing, or technology, disappears from view. Hence the odd argument that copyright should last forever, or almost forever — a rightful inheritance that should endure like a family heirloom or estate. In such a scenario, we would have to seek out the descendants of Shakespeare for permission to perform "All's Well That Ends Well." The value that culture holds for other artists, seeking inspiration and borrowing ideas, for students seeking affordable access to music and literature, or for any citizens to draw on the legacy of the past appears irrelevant. Copyright interests in the late 20th century supposed that people should not learn, feel, or experience any expression without money changing hands. Pirates suggested otherwise.
Piracy was present throughout the history of the record industry, a fact of life that was ignored, accepted, or resisted, depending on the circumstances. In its various permutations, from the jazz era to the heyday of rock and the rise of hip-hop, unauthorized reproduction pointed the way to different ways of making and enjoying sound, a nascent set of productive relations that grew in tension with mass culture and copyright law. Lawmakers and judges recast copyright as a bulwark against a rising tide of piracy since the 1950s, yet stronger property rights failed to thwart the industry's pirate nemesis — and the traditional sectors of the music business stumbled into an unprecedented decline in the early years of the 21st century. Music remains as abundant as ever, as file sharing and new businesses provide access to a broader range of music than was available to most people for most of the industry's history. Piracy might not kill music, but history may record that it killed the 20th century record industry.
Reprinted from "Democracy of Sound: Music Piracy and the Remaking of American Copyright in the Twentieth Century" by Alex Sayf Cummings, with permission from Oxford University Press USA. © 2013 Oxford University Press.
Alex Sayf Cummings
Alex Sayf Cummings is an assistant professor of history at Georgia State University and the author of the new book "Democracy of Sound: Music Piracy and the Remaking of American Copyright in the 20th Century." He is also a co-editor of the blog Tropics of Meta.
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Home Entertainment 20 Fun Star Wars Facts You Probably Didn't Know
EntertainmentGeekyTV/Movies
20 Fun Star Wars Facts You Probably Didn't Know
By Luke Harkness
Star wars is without a doubt, one of the biggest film franchises in the world, if not the biggest have amassed a staggering amount of money with every release of the movie. The new Star Wars film is being released at the end of this year and is likely to break every box office record once again with fans, old and new, likely to be paying to see the new film and where the new trilogy will go. So let's check out 20 fun Star Wars facts you probably didn't know.
1. Alec Guiness who played Obi Wank Kenobi in the original trilogy originally called the film "fairy-tale rubbish" despite going on to make $95 million in royalties from the film.
Courtesy of famebiography.com
2. Harrison Ford, arguably the biggest hit of the film was only paid $10,000 to film the whole of A New Hope.
Courtesy of geeknation.com
3. Peter Cushing, who played Grand Moff Tarkin, found his costume boots so uncomfortable that he wore slippers during many of his scenes, and insisted his feet just never be in the shots.
Courtesy of tumblr.com
4. The word "ewok" is never actually said out loud in any of the films.
Courtesy of media.gunaxin.com
5. Yoda was originally going to be played by a monkey wearing a mask and carrying a cane.
Courtesy of staticflickr.com
6. Yoda's species is never actually told throughout any of the Star Wars films.
Courtesy of feelgrafix.com
7. Ewan Mcgregor, who plays Obi Wan Kenobi in the prequel trilogy's Uncle, Dennis Lawson played Wedge Antilles in the original trilogy.
Courtesy of screamingmasses.com
8. 20. Luke's lightsaber in Star Wars: Episode VI – Return of the Jedi was originally going to be blue to match the lightsaber he lost in the previous film, but George Lucas was worried that it would confuse audiences, and thought a green lightsaber would look better, so he made the change.
Courtesy of thegnomonworkshop.com
9. 51. E.T.'s alien species are part of the Star Wars universe. A delegation of the aliens can be seen in the Galactic Senate.
Courtesy of starwars.wikia.com
10. Every Star Wars film has been released the week after George Lucas' birthday on May 14th.
Courtesy of flashbak.com
12. George Lucas' daughter Katie Lucas appears as a Twi'lek dancer in Star Wars: Episode II – Attack of the Clones.
Courtesy of sodahead.com
13. Her sister, Amanda Lucas, appears as a background extra.
Courtesy of Buzzfeed.com
14. Their brother, Jett Lucas, appears as a young Padawan in the Jedi archives.
15. The phrase "I have a bad feeling about this" is said in every film.
Courtesy of giphy.com
16. Anakin Skywalker/Darth Vader has been played by six different people: David Prowse, James Earl Jones, Bob Anderson, Sebastian Shaw, Jake Lloyd, and Hayden Christensen.
Courtesy of superheromoviesnews.com
17. In one draft of Star Wars: Episode VI – Return of the Jedi, Obi Wan Kenobi and Yoda were going to leave the Force, and return to their physical bodies again to either assist Luke in his confrontation with Darth Vader and the Emperor, or to join him during the celebration on Endor.
Courtesy of pastemagazine.com
18. Many of the buildings constructed to be used in shots of Tatooine are still standing in Tunisia. In fact, some of them are still used by locals.
Courtesy of gizmodo.com
19. 5. The sound of the TIE Fighter engines is actually the sound of an elephant call mixed with the sounds of a car driving on wet pavement.
Courtesy of io9.com
20. 16. Mark Hamill was in a bad car accident before filming started on Star Wars: Episode V – The Empire Strikes Back, causing severe facial trauma. The scene in which Luke Skywalker is mauled by a Wampa was added to account for the scarring on his face.
Courtesy of starwarz.com
Luke Harkness
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redpajama_set_name: RedPajamaCommonCrawl


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TORY RICHARDS: Awe...how adorable is this!
A rare albino seal pup with ginger-colored fur was abandoned by the colony in Tyuleniy Island, Russia. He was hiding beneath logs when the photographer spotted him. "The poor seal is almost blind and so was unlikely to survive in the wild," said the photographer, who was with staff from a dolphinarium who took it into their care.
Very cute. Glad he's going to be taken care of.
Poor baby. Glad he's being looked after.


Sometimes you get rewarded late…. so late that all gear was stowed away as I was on the return leg after a fine, yet far from spectacular – at least from a photography point of view – climb up to Turlough Hill in the afternoon.
While a beautiful day it was, the sun shining sky high throughout, the oh so often elusive yellow ball did vanish behind a tick layer of clouds as I prepared for my carefully selected sunset shot. One of those days, it seemed. Nothing you can do about it.
As I set sail before darkness hit, all of a sudden the world around me turns into a vibrant orange, red and purple wonderland. Gone is the layer of clouds, free is the sun, minutes away from dropping behind the back of Turlough Hill.
A sunset photo at last!
After passing the site multiple times in recent weeks (and didn't find it instantly when actively looking for it either), today there was no stopping getting to the top of the Hill of Allen!
To find the site, even more so to find parking, is an adventure in itself. Don't expect signs, and don't expect the small car park that exists in theory to be open either – the site is officially not open for public any more as quarrying takes place at the other side of the hill.
It it still possible to go up, though. A small, muddy way leads all the way to the hill. A shame the county council has effectively abandoned this site of historical importance as it could be a real gem – if protected and cared for.
At the top of the tower has been a glass canopy erected a few years ago. Unfortunately this one has been smashed and glass is scattered as wide as the eye can see.
If you squeeze through the open frames you'll be rewarded with the most magnificent view over county Kildare, the Curragh all the way up to the Wicklow Mountains in the distance, nonetheless. It's well worth the effort.
It looked simple enough on the map. The reality was steep. And windy. At least not rainy. That was for later. Hiking up to the Djouce Mountain in the Wicklow's isn't a big deal, though the last bit is steep enough for untrained legs.
Add some high winds and it makes for a stern test on a weekend's afternoon. It was too windy up there and the looming rain clouds made sure I only stayed for a brief period until making my way down again.
Light was sparse, though the shapes of the different mountains, hills, the wide panoramic view of the Irish coastline makes for an image where you can't do much wrong.
The wonderful 8-16mm from Sigma in the back delivered once more. I wanted to capture the atmosphere felt on the mountain in a wide panorama to show the contrasts of the scene. It's not the most special image I've ever taken. Still, It was worth to get out there and take it.
Rain soaked, covered in mud, the shoes filled with ice cold mountain water, the legs hurt, the lungs make strange noises….but it's totally worth it! Because up here there's nobody else. It's only you, the rain, the wind, the sun and the odd double rainbow!
I just survived the latest downpour in my quest to concur Mullacor Mountain – one of the easier hikes in the Wicklow Mountains National Park – in dismay I look at those heavy rain clouds which made my last half an hour so miserable.
But then, suddenly and certainly out of nowhere, the sun is back! In fact, at the exact place where only minutes ago I was cursing mother nature, now a glowing stream of vibrant colours forms the most stunning double rainbow.
It's those moments that are reward for the one who makes the effort to go out into the wild, to explore what the world around us feels and tastes.
At the same time it makes me realise – quite literally – that day in day out I'm actually just sitting in front of a brightly glowing screen and start losing a sense for the real world out there.
So, memo to myself: go out more often! Let's try this right away…….
Lough Tay in the Wicklow Mountains National Park – also known as the Guinness Lake… with plenty of of phantasy it shapes like a pint of Guinness, though the northern coastline forms part of an estate in fact belonging to the Guinness family!


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Former Labour mayor and parliamentary candidate for Shrewsbury joins the Lib Dems
Jon Tandy, a former Labour mayor of Shrewsbury and Labour parliamentary candidate for Shrewsbury and Atcham, has joined the Liberal Democrats.
He told Shropshire Live:
"I'm born and bred in Shrewsbury, I love this town. The Liberal Democrats are providing the community leadership that we need to keep making Shrewsbury a better place to live for everyone. They really care about our town, and I'm going to be backing the Lib Dems all the way to win votes and seats from both the Tories and Labour."
His decision is rooted in disquiet at the left's control of Labour in Shrewsbury, but there is plenty about the Shropshire Lib Dems to attract him at the moment:
Councillor Alex Wagner welcomed Jon Tandy to the party at a meeting in Harlescott yesterday. He said:
"Having someone with Jon's experience and talent decide to join the Liberal Democrats is a huge boost to us locally. It is a real honour to welcome him to the party, and I cannot wait to see what he has in store next.
"Jon's campaigning record is second to none, and I know he's already getting stuck in, working hard and holding local leadership to account in his local community in Harlescott."
Paul Marsden, who gained Shrewsbury and Atcham for Labour in 1997 and held it in 2001, crossed the floor later that year to sit with the Lib Dems. He remained on our benches until he retired from the Commons in 2005.
Labels: Labour, Liberal Democrats, Paul Marsden, Shrewsbury, Shropshire
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Stay current on and continue your education of building practices and specifications covering a wide variety of weatherization-related issues.
Not only will you find answers for your initial questions here, you'll also see product comparisons and tips on best use of weather protection products.


text:
Transformacja – pięcioodcinkowy cykl filmów dokumentalnych w reżyserii Grzegorza Brauna przedstawiająca proces przekształcania się ZSRR od rewolucji 1917 roku po czasy najnowsze.

Opis
W skondensowanym na potrzeby filmu, akcentującym kluczowe momenty kolejnych transformacji wykładzie historii największego zbrodniczego projektu politycznego w dziejach świata, strategia dezinformacji okazuje się bodaj najbardziej trwałym dorobkiem Sowietów. Wypracowane i wypróbowane jeszcze przez Lenina i Dzierżyńskiego "stałe warianty gry" do dziś pozostają podstawowym narzędziem globalnej walki politycznej – narzędziem, po które sięgają chętnie nie tylko bezpośredni kontynuatorzy bolszewickich zbrodniarzy...

W filmie wypowiadają się m.in.: historycy, dziennikarze, publicyści i sowietolodzy z Polski, Rosji, Ukrainy i USA – wśród nich m.in.: Włodzimierz Bukowski, Sławomir Cenckiewicz, John Lenczowski, Herbert Rommerstein, Wiktor Suworow, Anne Applebaum, Stanisław Michalkiewicz. W filmach wykorzystano wiele unikatowych materiałów: filmów, fotografii i dokumentów pochodzących z archiwów polskich, białoruskich, ukraińskich i amerykańskich. Ścieżka dźwiękowa wyposażona została w setki efektów i wiele dziesiątków minut starannie dobranej muzyki. Specjalnie na potrzeby filmu stworzono szereg animacji, które stanowią oryginalny, autorski komentarz do opowiadanej historii.

Prapremiera filmu odbyła się 13.10.2012 w Hotelu Niezły Młyn w Czeszowie koło Wrocławia. Premiera odbyła się we wrocławskim kinie "Helios". Film prezentowany był na pokazach autorskich m.in. 9 grudnia 2012 roku w Izabelinie.

Film rozpowszechniany był na DVD jako dodatek do "Super Expressu" z 12 grudnia 2012 roku. Obszerna rozmowa z autorem ukazała się na portalu internetowym Polonia Christiana.

Odcinki

Część pierwsza pt. "NEP, Trust i głuchoniemi ślepcy"
Przedstawia genezę i krwawe konsekwencje komunistycznego przewrotu w Rosji; pokazuje, jak w l. 20. i 30. XX w. Lenin, Trocki, Dzierżyński, Stalin i ich wspólnicy wypracowują metody dezinformacji, prowokacji i eksterminacji – "stałe warianty gry", które stosowane będą wobec wszystkich stających na drodze do zwycięstwa "światowej rewolucji".

"Największa katastrofa geopolityczna XX stulecia" – tak rozpad Związku Sowieckiego określił prezydent Rosji, b. pułkownik KGB, Putin [2005]. Aby pojąć istotny sens tych słów i ocenić rzeczywisty rozmiar katastrofy, trzeba wrócić do początków najbardziej zbrodniczego systemu władzy w dziejach.
"Nasza historyczna doktryna obejmuje również przemoc i nieuchronność nowych wojen światowych. [...] Te budzące grozę słowa nie powinny być używane, ponieważ służyłyby interesom naszych przeciwników. "Lenin do Cziczerina [1922].

Część druga pt. "Zmienna linia Partii, III wojna światowa i raport Lokomotywy"
Przedstawia rolę Związku Sowieckiego w rozpętaniu II wojny światowej – z tragicznymi dla samej Rosji konsekwencjami. Mowa również o metodach i efektach komunistycznej infiltracji Zachodu, bez którego stałej pomocy zbrodniczy i niewydolny system nie zdoła przetrwać.

Przy wydatnej współpracy "pożytecznych idiotów" z Zachodu, Sowieci budują największą machinę militarną w dziejach: na przełomie lat 30./40. XX w. Armia Czerwona ma więcej broni ofensywnych – czołgów, samolotów, łodzi podwodnych i spadochroniarzy – niż wszystkie inne armie świata razem wzięte. Zwycięstwo "światowej rewolucji" wydaje się realne i bliskie.
Ściśle stosując wskazówki i wypełniając polityczny testament Lenina, przywódcy Związku Sowieckiego dowolnie zmieniają pryncypia i priorytety – tak jednak, by zachowana została nadrzędna zasada, którą najprościej formułuje ich polski kolaborant Gomułka [1945]: "Władzy raz zdobytej nie oddamy nigdy".

Część trzecia pt. "Nomenklatura, dezinformacja i kryzysy kontrolowane"
Opowiada o czasach rządów Chruszczowa i Breżniewa, Ukazuje kulisy zdarzeń, które znamy jako węzłowe, zwrotne w historii Polski i świata: rok 1956 - Poznański czerwiec, 1962 — kryzys kubański; 1968 — od polskiego Marca do sierpniowej inwazji na Czechosłowację.

Część czwarta pt. "Złoto, mięso, konwergencja i wyścigi na lawetach"
Przedstawia okres ostatecznego przesilenia w dziejach Związku Sowieckiego; czasy ostatnich genseków (sekretarzy generalnych): Breżniewa, Andropowa i Czernienki, których następujące po sobie pogrzeby czarny humor moskiewskiego ludu określił jako "wyścigi na lawetach". Obejmujący po nich schedę, czy raczej masę upadłościową ZSRS, Gorbaczow podejmie desperackie próby reaktywacji imperium – sięgając po wszelkie sprawdzone wzorce sowieckiej dezinformacji.

Część piąta
W przygotowaniu

Przypisy

Filmy w reżyserii Grzegorza Brauna
Polskie filmy z 2012 roku
Polskie filmy dokumentalne

redpajama_set_name: RedPajamaWikipedia


Brasington Machine Shop supplies multiple industries as an experienced machine distribution supplier. From White Rock, South Carolina, they supply to industries including heavy industrial equipment, steel and other industries such as brick. Messer machines play a big role in production for Brasington's production of straight parts, bevel parts, marking and drilling.


Hundreds of Auckland high school students are expected to attend a Future Pathways Industry Expo sponsored by G.J. Gardner Homes on Thursday. Held at Massey High school in West Auckland, the expo will see students from 10 local Secondary Schools arrive by bus to take part in one of the three sessions across the day from 9am to 3pm.
Interactive exhibits will be on display from local and national employers, Industry Training Organisations, the Defence Force and Police – including a visit from the police helicopter, police dogs and the Armed Offenders Squad.
Managing Director Grant Porteous says: "We all care deeply about future generations and think it's vital that today's students are fully aware of the many interesting and rewarding careers available to them that don't necessarily require a University education.
This is the first year G.J. Gardner Homes have sponsored the event and their franchisees in West Auckland and Rodney West have worked closely with local schools and exhibitors to ensure students learn about the rewarding career options that don't require a University education. The level of interest from both schools and exhibitors was much higher than predicted and up to 1200 students are expected to attend tomorrow.
All exhibitors align to one of six vocational pathways including construction and infrastructure, creative industries, primary industries, service industries, social and community services, and manufacturing and technology. These provide a framework for students to show how their learning and achievement is valued in the workplace by aligning learning to the skills needed for industry.


The all new Marvel show that aired this summer, "Cloak and Dagger," contains a mixture of strong bonds, difficult problems, and superhero powers in order to create an intensifying series. In the series, Aubrey Joseph plays "Cloak", Tyrone Johnson. Olivia Holt is "Dagger," Tandy Bowen. As a character, Tandy is always looking for an escape and is constantly involved in crime. While Tyrone, who goes by "Ty", is a basketball player, who has difficulty obtaining what his parents aspire from him, he is still coping with a tragic loss.
When the two teens cross paths, they discover the powers they have and realize that they have met before. When watching the series, one can notice that Tandy and Tyrone do not have a steady bond. One moment they are helping each other and the next they are yelling at each other. The relationship between the main characters demonstrates the trust issues that they have when meeting new people, based on the losses they had seen and the truths they have discovered.
You can also see that the difficulties and the fears Tandy and Tyrone face is what led them to use their powers in a specific way. Tandy's powers are those of light. She can see people's hopes as well as steal them. She also has dangerously sharp daggers, which will appear if she concentrates enough.
On the other hand, Tyrone has the tendency of witnessing people's fears and using their fears against them. Additionally, he can teleport and wrap people in darkness. Tyrone notices he can control his powers much better by using a cloak. Throughout the series, the use of their wants and goals show how the characters choose to use their given powers.
People mentioned that the first episodes are too talkative and do not show much action in comparison to other Marvel shows. Nevertheless, in these first episodes, the show does an amazing job at examining both characters as individuals, making a lot of the action occur later in the series.


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Healthcare Scholarship: Grand Rapids Community Foundation Scholarships
Overview of the Grand Rapids Community Foundation Scholarships
The Grand Rapids Community Foundation Scholarships are a set of academic scholarships that are awarded annually to recognize students in Kent County, Michigan. In total, the foundation awards around 70 different scholarships each year. By submitting an application into the foundation's online scholarship application, students can automatically put their names in the pool to qualify for any one of the scholarships that apply to their situation.
The scholarships are primarily oriented towards residents of Kent County, though some scholarships are also open to residents of Allegan, Ionia, Ottawa, Montcalm or Muskegon Counties. Most scholarships require candidates to demonstrate a minimum residency of somewhere between six months and three years.
As of 2014, the application deadline for all scholarships was April 1st. However, as the precise due dates can vary slightly from year to year, it's worth checking the Grand Rapids Community Foundation website for current information. The application period typically opens on January 1st. Winners are announced at the end of the academic year; in 2014, winners were announced on June 16th.
The academic requirements of Grand Rapids Community Foundation Scholarships vary slightly. Some scholarships require a minimum grade point average of 3.0 while others accept candidates with a minimum 2.5 grade point average. Many individual scholarships are designed to recognize students of particular ethnic or racial groups, or students pursuing a particular course of study. For example, the Arts Council of Greater Grand Rapids Minority Scholarship is granted to a student of color (African American, Asian, Hispanic, Native American, and Pacific Islander) who is majoring in fine arts or performing arts. The Donald J. DeYoung Scholarship is aimed at students who are current or former wards of the court in Kent County. Many, but not all, scholarships are need-based as well as merit-based, meaning that applicants must demonstrate their financial situation of need.
The amount awarded varies among the individual scholarships. In addition, the total amount of scholarship funding may vary somewhat from year to year.
In addition to the bulk of the scholarships from The Grand Rapids Community Foundation, which use the same standard application, the foundation awards a handful of additional scholarships that require separate application procedures. For example, the Alan R. Ryan Scholarship for Catholic High School Education is aimed specifically at 8th grade students who will be entering Catholic Central or West Catholic High Schools. The Gerald M. Crane Music Award Scholarship is for high school music students.
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Healthcare Scholarship: Gallagher Health Careers Scholarship
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About University of Toledo
The University of Toledo, commonly referred to as U of Toledo or UT, is a public research university located in Toledo, Ohio. The university operates a 450 acre Health Science campus, which includes the University of Toledo Medical Center, in the West Toledo neighborhood of Toledo; a 160-acre satellite campus in the Scott Park neighborhood of Toledo; the Center for the Visual Arts is located in downtown Toledo at the Toledo Museum of Art; and a research and education facility, known as the Lake Erie Center, is at the Maumee Bay State Park. The university was established in 1872 and now has a total enrollment of 23,000 students which is a fairly good number considering the historic importance of this university. Let's see what this university has to offer.
More about U. Toledo
OVERVIEW OF Mechanical Engineering
AT University of Toledo (U. Toledo)
Popularity of Mechanical Engineering course from University of Toledo on Yocket. Check profiles of students who have applied, got admits or are interested in applying to this course.
Total tuition fee for 30 credits
Course Duration (Or Credits)
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You can know more about this program on the university website
U. Toledo Mechanical Engineering
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Profile evaluation- MS mechanical (spring 2020) GRE- 296 (Q-159, V-137) IELTS 6.0 Undergrad %- 60.38 (B.Tech mechanical) 13 backlogs...
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AUSTIN—Like many of his colleagues, State Rep. Armando Walle says the biggest issue facing the 82nd Texas Legislature is the state budget.
According to the Texas Constitution, every two years the state must pass a balanced budget. However, Walle says that estimates are there is a $26 billion shortfall that has to be addressed.
Walle said that each state agency has been asked to find between a 5 and 10% cut in their budget. But this, he said, will not be enough.
With the shortfall, there has been some talk about legislators looking seriously at legalizing gambling. Walle said he would be open to the issue, but he does not hold much hope in it. "It (gambling) is a side show, a Band-Aid. The highest estimates are that it will bring in $3 to $4 billion, but that is anywhere from four to seven years down the road.
During the last legislative session, a noise pollution ordinance authored by Walle passed. Walle said that he want to continue on that issue, as well as tighter enforcement on junkyards. During the previous session a junkyard bill passed the House, but stalled in the Senate.
Water rates is an issue that has been facing the area for many years. "I really appreciate how much Arlene (Nichols) and Kevin (Bailey) did on the issue and I intend to continue their fight." Bailey served as state representative prior to Walle. Nichols was Bailey's legislative aid and community activist.
The son of an immigrant, Walle explained that the majority of immigrants just want to find a better life for themselves and their families.
He added that statistics are showing that crime in border counties on the U.S. side is actually on the decline.
The 52nd annual Aldine ISD Livestock Show and Country Fair will be held Feb. 3-4 at the M.O. Campbell Educational Center.
AISD FFA (Future Farmers of America) students will display a variety of projects, ranging from art, horticulture to animals, with hopes of earning the designation of "grand champion." Project judging will be held Thursday, Feb. 3, beginning at 7 a.m. and concluding at 7 p.m. in the Campbell Center Arena.
On Thursday and Friday, all projects will be on display to the public throughout the day. The Sale of Champions, which produced $183,000 in sales in 2010, will be held Friday evening at 7 p.m. and will also be held in the Arena.
On Friday morning, the second annual Art Breakfast and Auction will be held in the foyer of the Campbell Center beginning at 7:30 a.m. AISD art students will have their art projects on display and individuals who attend the breakfast will have the opportunity to bid on the artwork.
NORTHEAST HOUSTON– On Wednesday, January 12 Houston Can! Academy had a ribbing cutting ceremony at their new location in north central Houston.
The 34,000 square foot campus is located at 3401 Hardy Street. This North campus location has an enrollment of approximately 415 students and has room to grow to 450 students.
The facility was formerly a Yes Academy charter school campus. Texas Can! purchased the building and has spent $1.1. million in renovation and construction costs to create a state-of-the art learning environment for their students.
Houston Can! Academy students typically are 14-21 years old and usually enroll in the school as former drop-outs or students who have not been successful in traditional schools. Some are parents themselves, homeless or foster children who have lived in multiple homes and attended many schools. It is also a school of choice for parents whose students thrive in smaller classrooms with a more relationship-based education.
The mission of Houston Can! is to provide a second chance for at-risk youth and their families to achieve economic independence and hope for a better life.
For more information, visit www.texanscan.org or call 713-659-4226.
Despite some late-game heroics by former Aldine High football player Darron Thomas, the Oregon Ducks could not hold off Auburn, losing to the Tigers 22-19 in the BCS National Championship game last week.
Trailing by eight points, Thomas engineered a fourth quarter drive deep into Tigers territory. Then, with 2:33 left in the game, Thomas threw a 2-yard touchdown strike to LaMichael James.
Four plays earlier it looked like the Ducks were "dead in the water" as they faced a fourth down. Thomas stepped up and threw a 29-yard pass to D.J. Davis to keep the drive alive.
Following the James touchdown the Ducks were still down by two points.
Thomas was not done. Taking the snap, he threw the short pass to Jeff Maehl for the two-point conversion.
The Tigers would have one more trick up their sleeve as the moved back down the field and, with the last second ticking off of the clock, kicked a 19-yard field goal for the win.
The win was Auburn's first national championship since 1957. It is also the fifth consecutive title for an SEC school. The last non-SEC school to win the national championship was the University of Texas in 2006.
Despite the loss Thomas showed in the game why Oregon was considered the county's most explosive offense. He completed 28 of 41 passes for 374 yards, while throwing two interceptions.
After being blanked in the first quarter, the Ducks got on the scoreboard in the second quarter with a field goal.
Two minutes later, the Tigers moved ahead on a touchdown.
It did not take the Ducks long to regain the lead.
Just a minute and two seconds after the Auburn touchdown, Thomas threw an eight-yard touchdown pass to James. This was followed by a two-point conversion.
Auburn then came back with a touchdown, field goal and safety to give themselves the 19-11 lead.
Oh, and by the way, the quarterback who almost won a national championship is just a sophomore who is in his first year as a starter.
Thomas was not the only Aldine player to touch the football during the national championship game.
Also lining up in a Duck's uniform was freshman Josh Huff. Huff, who played for Nimitz High, was the first player on his team to touch the ball as he fielded the opening kickoff against the Tigers.
Jed's Hardware announced the $1000 shopping spree winner from November's Drawing. Aldine resident Bill Hammond was the lucky winner of the Jeds Hardware $1000 shopping spree contest. Hammond's name was drawn from a pool of 1012 customers who had entered 1400 times between September and November.
The contest, sponsored by Jed's Hardware was run in conjunction with their fall merchandise catalog, which was distributed to 22,000 area homes in the Northeast News. It featured 130 pages showcasing 1500 home improvement items, in reality a small sampling of over 65,000 great products available either at Jed's, or through weekly warehouse deliveries or online at www.jedshardware.com.
WASHINGTON– Local Congress persons Gene Green, Ted Poe, Kevin Brady, and Congresswoman Sheila Jackson Lee were sworn in by the Speaker of the U.S. House of Representatives, John Boehner, to serve their Districts on Wednesday, Jan. 5th in Washington, DC. Lee represents the 18th District of Texas, and Green the 29th District.
Congresswoman Jackson Lee was elected to serve on the powerful House Democratic Steering and Policy Committee where she will be part of the efforts to establish policy for the country.
Further, Congresswoman Jackson Lee was elected Vice Chair of the vital Congressional Progressive Caucus, a group of 83 lawmakers, where she will help steer progressive efforts in the U.S. House of Representatives.
During the past Congress, Congresswoman Jackson Lee served as Chairwoman of the Subcommittee on Transportation Security and Infrastructure Protection in the House Homeland Security Committee. In the 112th Congress, Congresswoman Jackson Lee will remain in leadership positions in her committee assignments as a senior member of the House Homeland Security, Judiciary and Foreign Affairs Committees.
Congresswoman Jackson Lee will also serve as Co-Chair of the important Redistricting Committee on behalf of the Congressional Black Caucus, and have an important role in ensuring Redistricting in the country is done in an effective and fair manner and that the Congressional Black Caucus is well represented in those efforts. Congresswoman Jackson Lee will be working on redistricting issues for the State of Texas as well as the entire country.
NORTHEAST– A grim and sad child kidnapping and murder story played out over three Northeast Houston sites, starting with a kidnapping of a 12 year old boy Christmas eve from his house at Oak Street near Shepherd Drive.
According to Houston police, a family acquaintance took Jonathan Foster for reasons unknown at this time, allegedly murdered him and burned the body with a welder's torch at her home near Laura Koppe and US59, and about 6 p.m. Christmas eve dumped his body into a drainage culvert at E. Hardy Street and Schilder Drive, near the Rolled Alloys plant.
Foster had been home alone, but his mother, Angela Davis, returned about 2 p.m. Friday after receiving a strange phone call at work from a woman she did not recognize. When she arrived home, he had disappeared. The police and Texas EquuSearch mounted an Amber Alert and search, and the body was discovered on Tuesday.
Video from a surveillance camera on a nearby building showed images of Nelson's Ford F-150 pickup truck at the scene. She was arrested Wednesday morning, and admitted upon questioning that she had been with the boy, but did not admit to murdering him.
After extensive questioning of others involved in the case, including family and friends, HPD issued a statement that Nelson "is the only suspect." HPD Detective Mike Miller stated that evidence was found at her home. Nelson had a criminal record and had spent time in jail for various charges, according to police records.


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In each of the Democratic debates this year, rivals have attacked Biden on his record, memory and willingness to work with Republicans. Media coverage of the former vice president has often focused on his history of verbal slip-ups, such as when he said at an August event in Des Moines that "poor kids" are "just as talented as white kids" before correcting himself.
Iowans who attend Biden's events in the state have largely seemed unfazed by his mistakes, and Biden himself told the Register he doesn't believe he needs to change his approach.
Biden is viewed favorably by 66% of likely Democratic caucusgoers, compared to 29% who view him unfavorably. That's positive territory, but his unfavorable numbers have nearly doubled since March, when he was viewed unfavorably by 15% and favorably by 81%.
"To see at the same time his favorability decline and his unfavorability double — that makes me think he's not wearing well," pollster J. Ann Selzer said.
Still, 60% of likely Democratic caucusgoers are considering Biden in some way. That includes those who say he is their first choice, 20%, second choice, 10%, or someone they are actively considering, 30%. Only Warren has a larger footprint, with 71%.
Even as Warren has passed Biden in support, a plurality of Biden backers — 26% — say the Massachusetts senator is their second choice. The same is not true for Warren supporters, just 14% of whom list Biden as their second choice.
See all of our latest Iowa Poll results:
Elizabeth Warren leads Register's Iowa Poll for the first time, besting Joe Biden and Bernie Sanders
A guide to Democrats running for president and what likely Iowa caucus participants think of them
Elizabeth Warren finds new strength among Bernie Sanders' key constituencies, Iowa Poll says
'He's not wearing well': Joe Biden loses ground in Register's Iowa Poll
Bernie Sanders slides to third in Iowa Poll as fewer respondents view him favorably
Pete Buttigieg is popular among likely Democratic caucusgoers but is the first choice among just 9%, Iowa Poll finds
Kamala Harris is more visible, but unfavorable rating has grown with likely caucusgoers, according to Iowa Poll
Biden's supporters are less likely than supporters of Warren, Sanders or Buttigieg to describe themselves as "extremely enthusiastic" and more likely to identify as "mildly enthusiastic."
Maria Morris, a poll respondent from Dubuque, is one of Biden's extremely enthusiastic backers. The 49-year-old college professor is among the 26% of Biden supporters who say their mind is made up, a bright spot for him. Just 12% of Warren supporters say the same.
"I have been a proponent of Joe Biden for a long time," Morris said. "I think he was a great senator, I think he was a great a vice president, and so, even before he threw his hat in the ring, I was in support of him running."
Register reporter Brianne Pfannenstiel contributed to this report.
Stephen Gruber-Miller covers the Iowa Statehouse and politics for the Register. He can be reached by email at sgrubermil@registermedia.com or by phone at 515-284-8169. Follow him on Twitter at @sgrubermiller.
About the poll
The Iowa Poll, conducted September 14-18, 2019, for The Des Moines Register, CNN and Mediacom by Selzer & Co. of Des Moines, is based on telephone interviews with 602 registered voters in Iowa who say they will definitely or probably attend the 2020 Democratic caucuses.
Interviewers with Quantel Research contacted 3,510 randomly selected active voters from the Iowa secretary of state's voter registration list by telephone. The sample was supplemented with additional phone number lookups. Interviews were administered in English. Responses for all contacts were adjusted by age, sex and congressional district to reflect their proportions among active voters in the list.
Questions based on the sample of 602 voters likely to attend the 2020 Iowa Democratic caucuses in person have a maximum margin of error of plus or minus 4.0 percentage points. This means that if this survey were repeated using the same questions and the same methodology, 19 times out of 20, the findings would not vary from the true population value by more than plus or minus 4.0 percentage points. Results based on smaller samples of respondents — such as by gender or age — have a larger margin of error.
Republishing the copyright Iowa Poll without credit to The Des Moines Register, CNN, and Mediacom is prohibited.
'We don't have time to correct every error': Iowa Democrats vote 26-14 to certify caucus results Iowa Caucuses 2020: Full Democratic results and alignment tallies Iowa Democratic Party Chairman Troy Price to resign after caucus chaos Inside the Iowa Democratic Party's 'boiler room,' where 'hell' preceded the results catastrophe Sign up for our Politics Newsletter and get the latest caucus news delivered to your inbox.


Home News Roseville Placer County Re-Entry Program a Model for California?
Placer County Re-Entry Program a Model for California?
Placer County, CA- Justice system success rates continue to rise in Placer County in part due to the Placer Re-Entry Program, designed to provide offenders tools to make positive changes in their lives, the county Probation Department reported today.
The PREP program, a partnership with Sacramento County Office of Education, provides criminal offenders with one-on-one and group-level services to assist their successful transition back into the community.
Success is achieved through individualized service plans that include job training, face-to-face counseling and multiple re-entry preparation opportunities aimed at providing participants the tools to maintain success after graduating from the program.
Each client is assigned a dedicated case manager who works with the client to develop solutions and assist with re-entry into the community.
Since the program's inception, there have been 514 successful graduates and a recent study found that 95 percent of them had no new convictions in Placer County following program completion. Additionally, 81 participants have completed training and started a career through the Northern California Construction Training Program, and PREP has facilitated the completion of over 600 community service hours on projects throughout Placer County.
PREP client services cover job readiness training, theft education, anger management, parenting classes, transportation to job interviews, housing placement, relapse prevention, computer education and more.
Graduation requirements include demonstrated risk level reduction, successful participation in the individualized service plan, class completion and an analysis of positive results demonstrating successful re-entry into society.
PREP services are offered in Roseville, Auburn and the Lake Tahoe Basin and are available to all Placer County residents.
For more information on the Placer Re-Entry Program visit: placer.ca.gov/departments/probation/adults/prep.


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Q: Tensorflow and protobuf version problems I am trying to use Keras which uses Tensorflow (GPU) which uses protobuf using python 3.6 on Windows 10. The version of Tensorflow is 2.1.0 and it came with protobuf 3.11. However, should I try to import Tensorflow, it raises the following error:

from google.protobuf.pyext import _message (...) ImportError: DLL load failed: (...)

which from https://github.com/protocolbuffers/protobuf/issues/5046 I understand that it's tensorflow using a file no longer present in protobuf >3.6.0
However, downgrading to protobuf 3.6.0 raises another error during the creation of an Embedding Layer with Keras:

AttributeError: 'google.protobuf.pyext._message.RepeatedCompositeCo' object has no attribute 'append'

Further downgrading of protobuf still causes other errors. Could it be tensorflow and Keras needing different versions of protobuf? Can I even have 2 separate versions for them in the same virtual environment (i'm using PyCharm)?
So which version of protobuf does tensorflow 2.1.0 (and Keras 2.3.1) freaking need? Can I solve it by using another combination of versions (older tensorflow and/or Keras) and if so which?

redpajama_set_name: RedPajamaStackExchange


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We will be stretching "Pet Dental Month" into March 2015 for the dogs and cats of Boca Raton. In order to help more pets achieve healthy mouths, we are providing general anesthetic dental discounts, depending on the case. Scheduling availability is very limited, so please book your free dental evaluation soon. The BVC Pet Dental Month x 2 is aimed at providing more dogs and cats with better oral care, at prices that will make their parents smile!
For selected cases requiring a board – certified veterinary dental specialist, Dr Tiffany Brown is available for BVC patients, by appointment. Dr Brown's gentle expertise and her devotion to pet oral care are exemplary, and we are honored to have her skills available to out patients. Dr. Brown is an expert at extremely complicated dental procedures in dogs and cats. This opportunity is not to be missed! A discount will also be applied to her specialty cases, during this period, depending on the case.
End of year gifts often include adorable puppies and kittens. This is the gift of years of fun and friendship, but it also carries certain responsibilities. Please make sure that these cute bundles of fluff receive all their necessary vaccinations and parasite treatments/ preventatives. Simple, good care is the key to good health. This includes a healthy diet, and we can discuss the appropriate diet for your pet during their wellness appointments.
Remember, as always, our aim is Happy, Healthy, 4-legged Children!
Boca Veterinary Clinic has partnered with Pet Dental Services, to offer our Non-Anesthetic Dental procedures. Dental procedures are available for dogs and cats.


Jennifer - 1966 - CPA in Beavercreek, OR.
Rebecca - 1969 - Widowed - lives inConcord, CA.
Kate More…- 1973 - Divorced- 1 darling daughter - Graphic Designer inDanville, CA.
I am now a widow and a cancer survivor (five years plus).
I retired from being an Office Manager for a local hospice in 2009.
One of the the things that has happened in my life that I would have never expected was that I was asked to design and make stained glass windows for a Pleasanton church. It was quite an experience.
Started Foothill Junior College but left when I left home and started working.
After years of being home I did take a re-entry class designed to "get mother's back into useful society". Loved that description.
I got to hold a baby lion cub on my chest while being a the zoo with my kids. They would not look at it because they were riding a tortoise. Sigh!
walk our dog rescue dog, Romeo, because he will lick you to death (we did not name him), spend time trying to keep up with our granddaughter, Riley.
Nope, did not finish junior college because I had to start working. Spent years sewing for my three daughters and now am working a a quilt for my granddaughter. I did not set any other goals back then. Lew and I were already planning to get married.
Judie Iverson Reed has a birthday today.
Judie Iverson Reed has left an In Memory comment for Bill Schulte.
Judie Iverson Reed updated profile. View.
Judie Iverson Reed has a birthday today. New comment added.