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17 U.S.C. § 101
Section 101 - Definitions
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Statutes, codes, and regulations
Title 17 - COPYRIGHTS
Chapter 1 - SUBJECT MATTER AND SCOPE OF COPYRIGHT
Current through P.L. 116-78 (12/05/2019)
Except as otherwise provided in this title, as used in this title, the following terms and their variant forms mean the following:
An "anonymous work" is a work on the copies or phonorecords of which no natural person is identified as author.
An "architectural work" is the design of a building as embodied in any tangible medium of expression, including a building, architectural plans, or drawings. The work includes the overall form as well as the arrangement and composition of spaces and elements in the design, but does not include individual standard features.
"Audiovisual works" are works that consist of a series of related images which are intrinsically intended to be shown by the use of machines, or devices such as projectors, viewers, or electronic equipment, together with accompanying sounds, if any, regardless of the nature of the material objects, such as films or tapes, in which the works are embodied.
The "Berne Convention" is the Convention for the Protection of Literary and Artistic Works, signed at Berne, Switzerland, on September 9, 1886, and all acts, protocols, and revisions thereto.
The "best edition" of a work is the edition, published in the United States at any time before the date of deposit, that the Library of Congress determines to be most suitable for its purposes.
A person's "children" are that person's immediate offspring, whether legitimate or not, and any children legally adopted by that person.
A "collective work" is a work, such as a periodical issue, anthology, or encyclopedia, in which a number of contributions, constituting separate and independent works in themselves, are assembled into a collective whole.
A "compilation" is a work formed by the collection and assembling of preexisting materials or of data that are selected, coordinated, or arranged in such a way that the resulting work as a whole constitutes an original work of authorship. The term "compilation" includes collective works.
A "computer program" is a set of statements or instructions to be used directly or indirectly in a computer in order to bring about a certain result.
"Copies" are material objects, other than phonorecords, in which a work is fixed by any method now known or later developed, and from which the work can be perceived, reproduced, or otherwise communicated, either directly or with the aid of a machine or device. The term "copies" includes the material object, other than a phonorecord, in which the work is first fixed.
"Copyright owner", with respect to any one of the exclusive rights comprised in a copyright, refers to the owner of that particular right.
A "Copyright Royalty Judge" is a Copyright Royalty Judge appointed under section 802 of this title, and includes any individual serving as an interim Copyright Royalty Judge under such section.
A work is "created" when it is fixed in a copy or phonorecord for the first time; where a work is prepared over a period of time, the portion of it that has been fixed at any particular time constitutes the work as of that time, and where the work has been prepared in different versions, each version constitutes a separate work.
A "derivative work" is a work based upon one or more preexisting works, such as a translation, musical arrangement, dramatization, fictionalization, motion picture version, sound recording, art reproduction, abridgment, condensation, or any other form in which a work may be recast, transformed, or adapted. A work consisting of editorial revisions, annotations, elaborations, or other modifications which, as a whole, represent an original work of authorship, is a "derivative work".
A "device", "machine", or "process" is one now known or later developed.
A "digital transmission" is a transmission in whole or in part in a digital or other non-analog format.
To "display" a work means to show a copy of it, either directly or by means of a film, slide, television image, or any other device or process or, in the case of a motion picture or other audiovisual work, to show individual images nonsequentially.
An "establishment" is a store, shop, or any similar place of business open to the general public for the primary purpose of selling goods or services in which the majority of the gross square feet of space that is nonresidential is used for that purpose, and in which nondramatic musical works are performed publicly.
The term "financial gain" includes receipt, or expectation of receipt, of anything of value, including the receipt of other copyrighted works.
A work is "fixed" in a tangible medium of expression when its embodiment in a copy or phonorecord, by or under the authority of the author, is sufficiently permanent or stable to permit it to be perceived, reproduced, or otherwise communicated for a period of more than transitory duration. A work consisting of sounds, images, or both, that are being transmitted, is "fixed" for purposes of this title if a fixation of the work is being made simultaneously with its transmission.
A "food service or drinking establishment" is a restaurant, inn, bar, tavern, or any other similar place of business in which the public or patrons assemble for the primary purpose of being served food or drink, in which the majority of the gross square feet of space that is nonresidential is used for that purpose, and in which nondramatic musical works are performed publicly.
The "Geneva Phonograms Convention" is the Convention for the Protection of Producers of Phonograms Against Unauthorized Duplication of Their Phonograms, concluded at Geneva, Switzerland, on October 29, 1971.
The "gross square feet of space" of an establishment means the entire interior space of that establishment, and any adjoining outdoor space used to serve patrons, whether on a seasonal basis or otherwise.
The terms "including" and "such as" are illustrative and not limitative.
An "international agreement" is-
(1) the Universal Copyright Convention;
(2) the Geneva Phonograms Convention;
(3) the Berne Convention;
(4) the WTO Agreement;
(5) the WIPO Copyright Treaty;
(6) the WIPO Performances and Phonograms Treaty; and
(7) any other copyright treaty to which the United States is a party.
A "joint work" is a work prepared by two or more authors with the intention that their contributions be merged into inseparable or interdependent parts of a unitary whole.
"Literary works" are works, other than audiovisual works, expressed in words, numbers, or other verbal or numerical symbols or indicia, regardless of the nature of the material objects, such as books, periodicals, manuscripts, phonorecords, film, tapes, disks, or cards, in which they are embodied.
The term "motion picture exhibition facility" means a movie theater, screening room, or other venue that is being used primarily for the exhibition of a copyrighted motion picture, if such exhibition is open to the public or is made to an assembled group of viewers outside of a normal circle of a family and its social acquaintances.
"Motion pictures" are audiovisual works consisting of a series of related images which, when shown in succession, impart an impression of motion, together with accompanying sounds, if any.
To "perform" a work means to recite, render, play, dance, or act it, either directly or by means of any device or process or, in the case of a motion picture or other audiovisual work, to show its images in any sequence or to make the sounds accompanying it audible.
A "performing rights society" is an association, corporation, or other entity that licenses the public performance of nondramatic musical works on behalf of copyright owners of such works, such as the American Society of Composers, Authors and Publishers (ASCAP), Broadcast Music, Inc. (BMI), and SESAC, Inc.
"Phonorecords" are material objects in which sounds, other than those accompanying a motion picture or other audiovisual work, are fixed by any method now known or later developed, and from which the sounds can be perceived, reproduced, or otherwise communicated, either directly or with the aid of a machine or device. The term "phonorecords" includes the material object in which the sounds are first fixed.
"Pictorial, graphic, and sculptural works" include two-dimensional and three-dimensional works of fine, graphic, and applied art, photographs, prints and art reproductions, maps, globes, charts, diagrams, models, and technical drawings, including architectural plans. Such works shall include works of artistic craftsmanship insofar as their form but not their mechanical or utilitarian aspects are concerned; the design of a useful article, as defined in this section, shall be considered a pictorial, graphic, or sculptural work only if, and only to the extent that, such design incorporates pictorial, graphic, or sculptural features that can be identified separately from, and are capable of existing independently of, the utilitarian aspects of the article.
For purposes of section 513, a "proprietor" is an individual, corporation, partnership, or other entity, as the case may be, that owns an establishment or a food service or drinking establishment, except that no owner or operator of a radio or television station licensed by the Federal Communications Commission, cable system or satellite carrier, cable or satellite carrier service or programmer, provider of online services or network access or the operator of facilities therefor, telecommunications company, or any other such audio or audiovisual service or programmer now known or as may be developed in the future, commercial subscription music service, or owner or operator of any other transmission service, shall under any circumstances be deemed to be a proprietor.
A "pseudonymous work" is a work on the copies or phonorecords of which the author is identified under a fictitious name.
"Publication" is the distribution of copies or phonorecords of a work to the public by sale or other transfer of ownership, or by rental, lease, or lending. The offering to distribute copies or phonorecords to a group of persons for purposes of further distribution, public performance, or public display, constitutes publication. A public performance or display of a work does not of itself constitute publication.
To perform or display a work "publicly" means-
(1) to perform or display it at a place open to the public or at any place where a substantial number of persons outside of a normal circle of a family and its social acquaintances is gathered; or
(2) to transmit or otherwise communicate a performance or display of the work to a place specified by clause (1) or to the public, by means of any device or process, whether the members of the public capable of receiving the performance or display receive it in the same place or in separate places and at the same time or at different times.
"Registration", for purposes of sections 205(c)(2), 405, 406, 410(d), 411, 412, and 506(e), means a registration of a claim in the original or the renewed and extended term of copyright.
"Sound recordings" are works that result from the fixation of a series of musical, spoken, or other sounds, but not including the sounds accompanying a motion picture or other audiovisual work, regardless of the nature of the material objects, such as disks, tapes, or other phonorecords, in which they are embodied.
"State" includes the District of Columbia and the Commonwealth of Puerto Rico, and any territories to which this title is made applicable by an Act of Congress.
A "transfer of copyright ownership" is an assignment, mortgage, exclusive license, or any other conveyance, alienation, or hypothecation of a copyright or of any of the exclusive rights comprised in a copyright, whether or not it is limited in time or place of effect, but not including a nonexclusive license.
A "transmission program" is a body of material that, as an aggregate, has been produced for the sole purpose of transmission to the public in sequence and as a unit.
To "transmit" a performance or display is to communicate it by any device or process whereby images or sounds are received beyond the place from which they are sent.
A "treaty party" is a country or intergovernmental organization other than the United States that is a party to an international agreement.
The "United States", when used in a geographical sense, comprises the several States, the District of Columbia and the Commonwealth of Puerto Rico, and the organized territories under the jurisdiction of the United States Government.
For purposes of section 411, a work is a "United States work" only if-
(1) in the case of a published work, the work is first published-
(A) in the United States;
(B) simultaneously in the United States and another treaty party or parties, whose law grants a term of copyright protection that is the same as or longer than the term provided in the United States;
(C) simultaneously in the United States and a foreign nation that is not a treaty party; or
(D) in a foreign nation that is not a treaty party, and all of the authors of the work are nationals, domiciliaries, or habitual residents of, or in the case of an audiovisual work legal entities with headquarters in, the United States;
(2) in the case of an unpublished work, all the authors of the work are nationals, domiciliaries, or habitual residents of the United States, or, in the case of an unpublished audiovisual work, all the authors are legal entities with headquarters in the United States; or
(3) in the case of a pictorial, graphic, or sculptural work incorporated in a building or structure, the building or structure is located in the United States.
A "useful article" is an article having an intrinsic utilitarian function that is not merely to portray the appearance of the article or to convey information. An article that is normally a part of a useful article is considered a "useful article".
The author's "widow" or "widower" is the author's surviving spouse under the law of the author's domicile at the time of his or her death, whether or not the spouse has later remarried.
The "WIPO Copyright Treaty" is the WIPO Copyright Treaty concluded at Geneva, Switzerland, on December 20, 1996.
The "WIPO Performances and Phonograms Treaty" is the WIPO Performances and Phonograms Treaty concluded at Geneva, Switzerland, on December 20, 1996.
A "work of visual art" is-
(1) a painting, drawing, print, or sculpture, existing in a single copy, in a limited edition of 200 copies or fewer that are signed and consecutively numbered by the author, or, in the case of a sculpture, in multiple cast, carved, or fabricated sculptures of 200 or fewer that are consecutively numbered by the author and bear the signature or other identifying mark of the author; or
(2) a still photographic image produced for exhibition purposes only, existing in a single copy that is signed by the author, or in a limited edition of 200 copies or fewer that are signed and consecutively numbered by the author.
A work of visual art does not include-
(i) any poster, map, globe, chart, technical drawing, diagram, model, applied art, motion picture or other audiovisual work, book, magazine, newspaper, periodical, data base, electronic information service, electronic publication, or similar publication;
(ii) any merchandising item or advertising, promotional, descriptive, covering, or packaging material or container;
(iii) any portion or part of any item described in clause (i) or (ii);
(B) any work made for hire; or
(C) any work not subject to copyright protection under this title.
A "work of the United States Government" is a work prepared by an officer or employee of the United States Government as part of that person's official duties.
A "work made for hire" is-
(1) a work prepared by an employee within the scope of his or her employment; or
(2) a work specially ordered or commissioned for use as a contribution to a collective work, as a part of a motion picture or other audiovisual work, as a translation, as a supplementary work, as a compilation, as an instructional text, as a test, as answer material for a test, or as an atlas, if the parties expressly agree in a written instrument signed by them that the work shall be considered a work made for hire. For the purpose of the foregoing sentence, a "supplementary work" is a work prepared for publication as a secondary adjunct to a work by another author for the purpose of introducing, concluding, illustrating, explaining, revising, commenting upon, or assisting in the use of the other work, such as forewords, afterwords, pictorial illustrations, maps, charts, tables, editorial notes, musical arrangements, answer material for tests, bibliographies, appendixes, and indexes, and an "instructional text" is a literary, pictorial, or graphic work prepared for publication and with the purpose of use in systematic instructional activities.
In determining whether any work is eligible to be considered a work made for hire under paragraph (2), neither the amendment contained in section 1011(d) of the Intellectual Property and Communications Omnibus Reform Act of 1999, as enacted by section 1000(a)(9) of Public Law 106-113, nor the deletion of the words added by that amendment-
(A) shall be considered or otherwise given any legal significance, or
(B) shall be interpreted to indicate congressional approval or disapproval of, or acquiescence in, any judicial determination,
by the courts or the Copyright Office. Paragraph (2) shall be interpreted as if both section 2(a)(1) of the Work Made For Hire and Copyright Corrections Act of 2000 and section 1011(d) of the Intellectual Property and Communications Omnibus Reform Act of 1999, as enacted by section 1000(a)(9) of Public Law 106-113, were never enacted, and without regard to any inaction or awareness by the Congress at any time of any judicial determinations.
The terms "WTO Agreement" and "WTO member country" have the meanings given those terms in paragraphs (9) and (10), respectively, of section 2 of the Uruguay Round Agreements Act.
Pub. L. 94-553Oct. 19, 1976, 90 Stat. 2541; Pub. L. 96-517, §10(a), Dec. 12, 1980, 94 Stat. 3028; Pub. L. 100-568, §4(a)(1), Oct. 31, 1988, 102 Stat. 2854; Pub. L. 101-6501990; Pub. L. 102-3071992; Pub. L. 102-5631992; Pub. L. 104-391995; Pub. L. 105-801997; Pub. L. 105-1471997; Pub. L. 105-2981998; Pub. L. 105-3041998; Pub. L. 106-441999; Pub. L. 106-1131999; Pub. L. 106-3792000; Pub. L. 107-2732002; Pub. L. 108-4192004; Pub. L. 109-92005; Pub. L. 111-295Dec. 9, 2010, 124 Stat. 3181.
HISTORICAL AND REVISION NOTES
HOUSE REPORT NO. 94-1476The significant definitions in this section will be mentioned or summarized in connection with the provisions to which they are most relevant.
REFERENCES IN TEXTSection 1011(d) of the Intellectual Property and Communications Omnibus Reform Act of 1999, referred to in definition of "work made for hire", is section 1000(a)(9) [title I, §1011(d)] of Pub. L. 106-113, which amended par. (2) of that definition. See 1999 Amendment note below.Section 2(a)(1) of the Work Made For Hire and Copyright Corrections Act of 2000, referred to in definition of "work made for hire", is section 2(a)(1) of Pub. L. 106-379, which amended par. (2) of that definition. See 2000 Amendment note below.Section 2 of the Uruguay Round Agreements Act, referred to in definitions of "WTO Agreement" and "WTO member country", is classified to section 3501 of Title 19, Customs Duties.
AMENDMENTS 2010-Pub. L. 111-295transferred the definition of "food service or drinking establishment" to appear after the definition of "fixed".Pub. L. 111-295transferred the definition of "motion picture exhibition facility" to appear after the definition of "Literary works".Pub. L. 111-295which directed transfer of the definition of "Copyright Royalty Judges" to appear after the definition of "Copyright owner", was executed by so transferring the definition of "Copyright Royalty Judge", to reflect the probable intent of Congress.2005-Pub. L. 109-9 inserted definition of "motion picture exhibition facility" after definition of "Motion pictures".2004-Pub. L. 108-419 inserted definition of "Copyright Royalty Judge" after definition of "Copies".2002-Pub. L. 107-273transferred definition of "Registration" to appear after definition of "publicly".Pub. L. 107-273transferred definition of "computer program" to appear after definition of "compilation".2000-Pub. L. 106-379in definition of "work made for hire", inserted after par. (2) provisions relating to considerations and interpretations to be used in determining whether any work is eligible to be considered a work made for hire under par. (2).Pub. L. 106-379in definition of "work made for hire", struck out "as a sound recording," after "motion picture or other audiovisual work," in par. (2).1999-Pub. L. 106-113, which directed the insertion of "as a sound recording," after "audiovisual work" in par. (2) of definition relating to work made for hire, was executed by making the insertion after "audiovisual work," to reflect the probable intent of Congress.Pub. L. 106-44in definition of "proprietor", substituted "For purposes of section 513, a 'proprietor' " for "A 'proprietor' ".Pub. L. 106-44transferred definition of "United States work" to appear after definition of "United States".1998-Pub. L. 105-304struck out definition of "Berne Convention work".Pub. L. 105-304in definition of "country of origin", substituted "For purposes of section 411, a work is a 'United States work' only if" for "The 'country of origin' of a Berne Convention work, for purposes of section 411, is the United States if" in introductory provisions, substituted "treaty party or parties" for "nation or nations adhering to the Berne Convention" in par. (1)(B) and "is not a treaty party" for "does not adhere to the Berne Convention" in par. (1)(C), (D), and struck out at end "For the purposes of section 411, the 'country of origin' of any other Berne Convention work is not the United States."Pub. L. 105-298inserted definitions of "establishment" and "food service or drinking establishment".Pub. L. 105-304inserted definition of "Geneva Phonograms Convention".Pub. L. 105-298inserted definition of "gross square feet of space".Pub. L. 105-304inserted definition of "international agreement".Pub. L. 105-298inserted definitions of "performing rights society" and "proprietor".Pub. L. 105-304inserted definition of term "treaty party".Pub. L. 105-304inserted definition of term "WIPO Copyright Treaty".Pub. L. 105-304inserted definition of term "WIPO Performances and Phonograms Treaty".Pub. L. 105-304inserted definitions of terms "WTO Agreement" and "WTO member country".1997-Pub. L. 105-147 inserted definition of "financial gain".Pub. L. 105-80, in definition of to perform or to display a work "publicly", substituted "process" for "processs" in par. (2).1995-Pub. L. 104-39 inserted definition of "digital transmission".1992-Pub. L. 102-563 substituted "Except as otherwise provided in this title, as used" for "As used" in introductory provisions.Pub. L. 102-307 inserted definition of "registration".1990-Pub. L. 101-650inserted definition of "architectural work".Pub. L. 101-650in definition of "Berne Convention work" added par. (5).Pub. L. 101-650inserted definition of "work of visual art".1988-Pub. L. 100-568inserted definitions of "The Berne Convention" and "Berne Convention work".Pub. L. 100-568inserted definition of "country of origin".Pub. L. 100-568in definition of "Pictorial, graphic, and sculptural works" substituted "diagrams, models, and technical drawings, including architectural plans" for "technical drawings, diagrams, and models".1980-Pub. L. 96-517 inserted definition of "computer program".
EFFECTIVE DATE OF 2004 AMENDMENTAmendment by Pub. L. 108-419 effective 6 months after Nov. 30, 2004, subject to transition provisions, see section 6 of Pub. L. 108-419, set out as an Effective Date; Transition Provisions note under section 801 of this title.
EFFECTIVE DATE OF 2000 AMENDMENTPub. L. 106-3792000, provided that: "The amendments made by this section [amending this section] shall be effective as of November 29, 1999."
EFFECTIVE DATE OF 1999 AMENDMENTPub. L. 106-1131999, provided that: "Sections 1001, 1003, 1005, 1007, 1008, 1009, 1010, and 1011 [enacting sections 338 and 339 of Title 47, Telecommunications, amending this section, sections 111, 119, 501, and 510 of this title, and section 325 of Title 47, enacting provisions set out as a note under this section and section 325 of Title 47, and amending provisions set out as a note under section 119 of this title] (and the amendments made by such sections) shall take effect on the date of the enactment of this Act [Nov. 29, 1999]. The amendments made by sections 1002, 1004, and 1006 [enacting section 122 of this title and amending sections 119 and 501 of this title] shall be effective as of July 1, 1999."
EFFECTIVE DATE OF 1998 AMENDMENTPub. L. 105-3041998, provided that:"(a) IN GENERAL.-Except as otherwise provided in this title [see section 101 of Pub. L. 105-304, set out as a Short Title of 1998 Amendment note below], this title and the amendments made by this title shall take effect on the date of the enactment of this Act [Oct. 28, 1998]."(b) AMENDMENTS RELATING TO CERTAIN INTERNATIONAL AGREEMENTS.-(1) The following shall take effect upon the entry into force of the WIPO Copyright Treaty with respect to the United States [Mar. 6, 2002]:"(A) Paragraph (5) of the definition of 'international agreement' contained in section 101 of title 17, United States Code, as amended by section 102(a)(4) of this Act."(B) The amendment made by section 102(a)(6) of this Act [amending this section]."(C) Subparagraph (C) of section 104A(h)(1) of title 17, United States Code, as amended by section 102(c)(1) of this Act."(D) Subparagraph (C) of section 104A(h)(3) of title 17, United States Code, as amended by section 102(c)(2) of this Act."(2) The following shall take effect upon the entry into force of the WIPO Performances and Phonograms Treaty with respect to the United States [May 20, 2002]:"(A) Paragraph (6) of the definition of 'international agreement' contained in section 101 of title 17, United States Code, as amended by section 102(a)(4) of this Act."(B) The amendment made by section 102(a)(7) of this Act [amending this section]."(C) The amendment made by section 102(b)(2) of this Act [amending section 104 of this title]."(D) Subparagraph (D) of section 104A(h)(1) of title 17, United States Code, as amended by section 102(c)(1) of this Act."(E) Subparagraph (D) of section 104A(h)(3) of title 17, United States Code, as amended by section 102(c)(2) of this Act."(F) The amendments made by section 102(c)(3) of this Act [amending section 104A of this title]."Pub. L. 105-2981998, provided that: "This title [enacting section 512 of this title, amending this section and sections 110 and 504 of this title, and enacting provisions set out as notes under this section] and the amendments made by this title shall take effect 90 days after the date of the enactment of this Act [Oct. 27, 1998]."
EFFECTIVE DATE OF 1995 AMENDMENTPub. L. 104-391995, provided that: "This Act [see Short Title of 1995 Amendment note below] and the amendments made by this Act shall take effect 3 months after the date of enactment of this Act [Nov. 1, 1995], except that the provisions of sections 114(e) and 114(f) of title 17, United States Code (as added by section 3 of this Act) shall take effect immediately upon the date of enactment of this Act."
EFFECTIVE DATE OF 1992 AMENDMENTPub. L. 102-3071992, as amended by Pub. L. 105-2981998, provided that:"(1) Subject to paragraphs (2) and (3), this section [amending this section and sections 304, 408, 409, and 708 of this title and enacting provisions set out as a note under section 304 of this title] and the amendments made by this section shall take effect on the date of the enactment of this Act [June 26, 1992]."(2) The amendments made by this section shall apply only to those copyrights secured between January 1, 1964, and December 31, 1977. Copyrights secured before January 1, 1964, shall be governed by the provisions of section 304(a) of title 17, United States Code, as in effect on the day before the effective date of this section [June 26, 1992], except each reference to forty-seven years in such provisions shall be deemed to be 67 years."(3) This section and the amendments made by this section shall not affect any court proceedings pending on the effective date of this section."
EFFECTIVE DATE OF 1990 AMENDMENTAmendment by section 602 of Pub. L. 101-650 effective 6 months after Dec. 1, 1990, see section 610 of Pub. L. 101-650, set out as an Effective Date note under section 106A of this title.Pub. L. 101-6501990, provided that: "The amendments made by this title [enacting section 120 of this title and amending this section and sections 102, 106, and 301 of this title], apply to-"(1) any architectural work created on or after the date of the enactment of this Act [Dec. 1, 1990]; and"(2) any architectural work that, on the date of the enactment of this Act, is unconstructed and embodied in unpublished plans or drawings, except that protection for such architectural work under title 17, United States Code, by virtue of the amendments made by this title, shall terminate on December 31, 2002, unless the work is constructed by that date."
EFFECTIVE DATE OF 1988 AMENDMENTPub. L. 100-568, §13, Oct. 31, 1988, 102 Stat. 2861, provided that:"(a) EFFECTIVE DATE.-This Act and the amendments made by this Act [enacting section 116A of this title, amending this section and sections 104, 116, 205, 301, 401 to 408, 411, 501, 504, 801, and 804 of this title, and enacting provisions set out as notes under this section] take effect on the date on which the Berne Convention (as defined in section 101 of title 17, United States Code) enters into force with respect to the United States [Mar. 1, 1989]. [The Berne Convention entered into force with respect to the United States on Mar. 1, 1989.]"(b) EFFECT ON PENDING CASES.-Any cause of action arising under title 17, United States Code, before the effective date of this Act shall be governed by the provisions of such title as in effect when the cause of action arose."
SHORT TITLE OF 2018 AMENDMENTPub. L. 115-264Oct. 11, 2018, 132 Stat. 3676, provided that: "This Act [enacting chapter 14 of this title, amending sections 114, 115, 301, 801, 803, and 804 of this title, section 58c of Title 19, Customs Duties, and section 137 of Title 28, Judiciary and Judicial Procedure, and enacting provisions set out as notes under this section and sections 106, 114, and 115 of this title] may be cited as the 'Orrin G. Hatch-Bob Goodlatte Music Modernization Act'."Pub. L. 115-264Oct. 11, 2018, 132 Stat. 3676, provided that: "This title [amending sections 114, 115, 801, 803, and 804 of this title and section 137 of Title 28, Judiciary and Judicial Procedure, and enacting provisions set out as notes under sections 106, 114, and 115 of this title] may be cited as the 'Musical Works Modernization Act'."Pub. L. 115-264Oct. 11, 2018, 132 Stat. 3728, provided that: "This title [enacting chapter 14 of this title and amending section 301 of this title] may be cited as the 'Classics Protection and Access Act'."Pub. L. 115-264Oct. 11, 2018, 132 Stat. 3737, provided that: "This title [amending section 114 of this title and enacting provisions set out as a note under section 114 of this title] may be cited as the 'Allocation for Music Producers Act' or the 'AMP Act'."Pub. L. 115-261Oct. 9, 2018, 132 Stat. 3667, provided that: "This Act [enacting section 121A of this title and amending section 121 of this title] may be cited as the 'Marrakesh Treaty Implementation Act'."
SHORT TITLE OF 2010 AMENDMENTPub. L. 111-295Dec. 9, 2010, 124 Stat. 3180, provided that: "This Act [amending this section and sections 114, 115, 119, 205, 303, 409, 503, 504, 512, 602, 704, 803, 1203, and 1204 of this title and section 2318 of Title 18, Crimes and Criminal Procedure, and repealing section 601 of this title] may be cited as the 'Copyright Cleanup, Clarification, and Corrections Act of 2010'."Pub. L. 111-175May 27, 2010, 124 Stat. 1218, provided that: "This Act [enacting section 342 of Title 47, Telecommunications, amending sections 111, 119, 122, 708, and 804 of this title and sections 325, 335, and 338 to 340 of Title 47, enacting provisions set out as notes under sections 111 and 119 of this title and sections 325, 338, and 340 of Title 47, and repealing provisions set out as a note under section 119 of this title] may be cited as the 'Satellite Television Extension and Localism Act of 2010'."Pub. L. 111-151Mar. 26, 2010, 124 Stat. 1027, provided that: "This Act [amending section 119 of this title and section 325 of Title 47, Telecommunications, and amending provisions set out as a note under section 119 of this title] may be cited as the 'Satellite Televison [sic] Extension Act of 2010'."
SHORT TITLE OF 2009 AMENDMENTPub. L. 111-362009, provided that: "This Act [amending section 114 of this title] may be cited as the 'Webcaster Settlement Act of 2009'."
SHORT TITLE OF 2008 AMENDMENTPub. L. 110-4352008, provided that: "This Act [amending section 114 of this title] may be cited as the 'Webcaster Settlement Act of 2008'."Pub. L. 110-4342008, provided that: "This Act [amending section 1301 of this title] may be cited as the 'Vessel Hull Design Protection Amendments of 2008'."
SHORT TITLE OF 2006 AMENDMENTPub. L. 109-3032006, provided that: "This Act [amending sections 111, 114, 115, 118, 119, 801 to 804, and 1007 of this title, enacting provisions set out as notes under sections 111 and 119 of this title, and amending provisions set out as a note under section 801 of this title] may be cited as the 'Copyright Royalty Judges Program Technical Corrections Act'."
SHORT TITLE OF 2005 AMENDMENTPub. L. 109-92005, provided that: "This Act [enacting section 2319B of Title 18, Crimes and Criminal Procedure, amending this section and sections 108, 110, 408, 411, 412, and 506 of this title, sections 179m, 179n, 179p, 179q, and 179w of Title 2, The Congress, section 1114 of Title 15, Commerce and Trade, section 2319 of Title 18, and sections 151703, 151705, 151706, and 151711 of Title 36, Patriotic and National Observances, Ceremonies, and Organizations, enacting provisions set out as notes under this section, section 179l of Title 2, and section 101 of Title 36, and provisions listed in a table relating to sentencing guidelines set out as a note under section 994 of Title 28, Judiciary and Judicial Procedure] may be cited as the 'Family Entertainment and Copyright Act of 2005'."Pub. L. 109-92005, provided that: "This title [enacting section 2319B of Title 18, Crimes and Criminal Procedure, amending this section, sections 408, 411, 412, and 506 of this title, and section 2319 of Title 18, and enacting provisions listed in a table relating to sentencing guidelines set out as a note under section 994 of Title 28, Judiciary and Judicial Procedure] may be cited as the 'Artists' Rights and Theft Prevention Act of 2005' or the 'ART Act'."Pub. L. 109-92005, provided that: "This title [amending section 110 of this title and section 1114 of Title 15, Commerce and Trade] may be cited as the 'Family Movie Act of 2005'."Pub. L. 109-92005, provided that: "This title [amending section 108 of this title] may be cited as the 'Preservation of Orphan Works Act'."
SHORT TITLE OF 2004 AMENDMENTPub. L. 108-4472004, provided that: "This title [enacting sections 340 and 341 of Title 47, Telecommunications, amending sections 111, 119, 122, and 803 of this title and sections 307, 312, 325, 338, and 339 of Title 47, enacting provisions set out as notes under section 119 of this title and sections 325 and 338 of Title 47, and amending provisions set out as a note under section 119 of this title] may be cited as the 'Satellite Home Viewer Extension and Reauthorization Act of 2004' or the 'W. J. (Billy) Tauzin Satellite Television Act of 2004'."Pub. L. 108-4192004, provided that: "This Act [enacting chapter 8 of this title, amending this section and sections 111, 112, 114 to 116, 118, 119, 1004, 1006, 1007, and 1010 of this title, and enacting provisions set out as a note under section 801 of this title] may be cited as the 'Copyright Royalty and Distribution Reform Act of 2004'."
SHORT TITLE OF 2002 AMENDMENTPub. L. 107-3212002, provided that: "This Act [amending section 114 of this title and enacting provisions set out as notes under section 114 of this title] may be cited as the 'Small Webcaster Settlement Act of 2002'."Pub. L. 107-2732002, provided that: "This subtitle [subtitle C (§13301) of title III of div. C of Pub. L. 107-273, amending sections 110, 112, and 802 of this title] may be cited as the 'Technology, Education, and Copyright Harmonization Act of 2002'."
SHORT TITLE OF 2000 AMENDMENTPub. L. 106-3792000, provided that: "This Act [amending this section and sections 121, 705, and 708 of this title, repealing section 710 of this title, and enacting provisions set out as notes under this section and section 708 of this title] may be cited as the 'Work Made For Hire and Copyright Corrections Act of 2000'."
SHORT TITLE OF 1999 AMENDMENTPub. L. 106-1601999, provided that: "This Act [amending section 504 of this title and enacting provisions set out as notes under section 504 of this title and section 994 of Title 28, Judiciary and Judicial Procedure] may be cited as the 'Digital Theft Deterrence and Copyright Damages Improvement Act of 1999'."Pub. L. 106-1131999, provided that: "This title [enacting section 122 of this title and sections 338 and 339 of Title 47, Telecommunications, amending this section, sections 111, 119, 501, and 510 of this title, and section 325 of Title 47, enacting provisions set out as notes under this section and section 325 of Title 47, and amending provisions set out as a note under section 119 of this title] may be cited as the 'Satellite Home Viewer Improvement Act of 1999'."
SHORT TITLE OF 1998 AMENDMENTPub. L. 105-3041998, provided that: "This Act [enacting section 512 and chapters 12 and 13 of this title and section 4001 of Title 28, Judiciary and Judicial Procedure, amending this section, sections 104, 104A, 108, 112, 114, 117, 411, 507, 701, and 801 to 803 of this title, section 5314 of Title 5, Government Organization and Employees, sections 1338, 1400, and 1498 of Title 28, and section 3 of Title 35, Patents, and enacting provisions set out as notes under this section and sections 108, 109, 112, 114, 512, and 1301 of this title] may be cited as the 'Digital Millennium Copyright Act'."Pub. L. 105-3041998, provided that: "This title [enacting chapter 12 of this title, amending this section and sections 104, 104A, 411, and 507 of this title, and enacting provisions set out as notes under this section and section 109 of this title] may be cited as the 'WIPO Copyright and Performances and Phonograms Treaties Implementation Act of 1998'."Pub. L. 105-3041998, provided that: "This title [enacting section 512 of this title and provisions set out as a note under section 512 of this title] may be cited as the 'Online Copyright Infringement Liability Limitation Act'."Pub. L. 105-3041998, provided that: "This title [amending section 117 of this title] may be cited as the 'Computer Maintenance Competition Assurance Act'."Pub. L. 105-3041998, provided that: "This Act [probably means "this title", enacting chapter 13 of this title and amending sections 1338, 1400, and 1498 of Title 28, Judiciary and Judicial Procedure] may be referred to as the 'Vessel Hull Design Protection Act'."Pub. L. 105-2981998, provided that: "This title [amending sections 108, 203, and 301 to 304 of this title, enacting provisions set out as a note under section 108 of this title, and amending provisions set out as notes under this section and section 304 of this title] may be referred to as the 'Sonny Bono Copyright Term Extension Act'."Pub. L. 105-2981998, provided that: "This title [enacting section 512 of this title, amending this section and sections 110 and 504 of this title, and enacting provisions set out as notes under this section] may be cited as the 'Fairness In Music Licensing Act of 1998'."
SHORT TITLE OF 1995 AMENDMENTPub. L. 104-391995, provided that: "This Act [amending this section and sections 106, 111, 114, 115, 119, and 801 to 803 of this title and enacting provisions set out as a note above] may be cited as the 'Digital Performance Right in Sound Recordings Act of 1995'."
SHORT TITLE OF 1994 AMENDMENTPub. L. 103-3691994, provided that: "This Act [amending sections 111 and 119 of this title and enacting and repealing provisions set out as notes under section 119 of this title] may be cited as the 'Satellite Home Viewer Act of 1994'."
SHORT TITLE OF 1993 AMENDMENTPub. L. 103-1981993, provided that: "This Act [amending sections 111, 116, 118, 119, 801 to 803, 1004 to 1007, and 1010 of this title and section 1288 of Title 8, Aliens and Nationality, renumbering sections 116A and 804 of this title as sections 116 and 803, respectively, of this title, repealing sections 116, 803, and 805 to 810 of this title, and enacting provisions set out as notes under section 801 of this title and section 1288 of Title 8] may be cited as the 'Copyright Royalty Tribunal Reform Act of 1993'."
SHORT TITLE OF 1992 AMENDMENTPub. L. 102-5631992, provided that: "This Act [enacting chapter 10 of this title, amending this section, sections 801, 804, and 912 of this title, and section 1337 of Title 19, Customs Duties, and enacting provisions set out as a note under section 1001 of this title] may be cited as the 'Audio Home Recording Act of 1992'."Pub. L. 102-3071992, provided that: "This Act [enacting sections 179 to 179k of Title 2, The Congress, amending this section and sections 108, 304, 408, 409, and 708 of this title, repealing sections 178 to 178l of Title 2, enacting provisions set out as notes under this section, section 304 of this title, and section 179 of Title 2, and repealing provisions set out as a note under section 178 of Title 2] may be cited as the 'Copyright Amendments Act of 1992'."Pub. L. 102-3071992, provided that: "This title [amending this section and sections 304, 408, 409, and 708 of this title and enacting provisions set out as notes under this section and section 304 of this title] may be referred to as the 'Copyright Renewal Act of 1992'."
SHORT TITLE OF 1991 AMENDMENTPub. L. 102-641991, provided that: "This Act [amending section 914 of this title and enacting provisions set out as a note under section 914 of this title] may be cited as the 'Semiconductor International Protection Extension Act of 1991'."
SHORT TITLE OF 1990 AMENDMENTPub. L. 101-6501990, provided that: "This title [enacting section 106A of this title, amending this section and sections 107, 113, 301, 411, 412, 501, and 506 of this title, and enacting provisions set out as notes under this section and section 106A of this title] may be cited as the 'Visual Artists Rights Act of 1990'."Pub. L. 101-6501990, provided that: "This title [enacting section 120 of this title, amending this section and sections 102, 106, and 301 of this title, and enacting provisions set out as a note above] may be cited as the 'Architectural Works Copyright Protection Act'."Pub. L. 101-6501990, provided that: "This title [amending section 109 of this title and enacting provisions set out as notes under sections 109 and 205 of this title] may be cited as the 'Computer Software Rental Amendments Act of 1990'."Pub. L. 101-5531990, provided that: "This Act [enacting section 511 of this title, amending sections 501, 910, and 911 of this title, and enacting provisions set out as a note under section 501 of this title] may be cited as the 'Copyright Remedy Clarification Act'."Pub. L. 101-3191990, provided that: "This Act [amending sections 701 and 802 of this title and sections 5315 and 5316 of Title 5, Government Organization and Employees, and enacting provisions set out as a note under section 701 of this title] may be cited as the 'Copyright Royalty Tribunal Reform and Miscellaneous Pay Act of 1989'."Pub. L. 101-3181990, provided that: "This Act [amending sections 106, 111, 704, 708, 801, and 804 of this title and enacting provisions set out as notes under sections 106, 111, 708, and 804 of this title] may be cited as the 'Copyright Fees and Technical Amendments Act of 1989'."
SHORT TITLE OF 1988 AMENDMENTPub. L. 100-667, title II, §201, Nov. 16, 1988, 102 Stat. 3949, provided that: "This title [enacting section 119 of this title and sections 612 and 613 of Title 47, Telecommunications, amending sections 111, 501, 801, and 804 of this title and section 605 of Title 47, and enacting provisions set out as notes under section 119 of this title] may be cited as the 'Satellite Home Viewer Act of 1988'." [Section ceases to be effective Dec. 31, 1994, see section 207 of Pub. L. 100-667, set out as an Effective and Termination Dates note under section 119 of this title.]Pub. L. 100-568, §1(a), Oct. 31, 1988, 102 Stat. 2853, provided that: "This Act [enacting section 116A of this title, amending this section and sections 104, 116, 205, 301, 401 to 408, 411, 501, 504, 801, and 804 of this title, and enacting provisions set out as notes under this section] may be cited as the 'Berne Convention Implementation Act of 1988'."
SHORT TITLE OF 1984 AMENDMENTPub. L. 98-620, title III, §301, Nov. 8, 1984, 98 Stat. 3347, provided that: "This title [enacting chapter 9 of this title] may be cited as the 'Semiconductor Chip Protection Act of 1984'."Pub. L. 98-450, §1, Oct. 4, 1984, 98 Stat. 1727, provided that: "This Act [amending sections 109 and 115 of this title and enacting provisions set out as a note under section 109 of this title] may be cited as the 'Record Rental Amendment of 1984'."
SHORT TITLE OF 1976 ACTPub. L. 94-553, Oct. 19, 1976, 90 Stat. 2541, which enacted this title and section 170 of Title 2, The Congress, amended section 131 of Title 2, section 290e of Title 15, Commerce and Trade, section 2318 of Title 18, Crimes and Criminal Procedure, section 543 of Title 26, Internal Revenue Code, section 1498 of Title 28, Judiciary and Judicial Procedure, sections 3202 and 3206 of Title 39, Postal Service, and sections 505 and 2117 of Title 44, Public Printing and Documents, and enacted provisions set out as notes preceding this section and under sections 104, 115, 304, 401, 407, 410, and 501 of this title, is popularly known as the "Copyright Act of 1976".
SEVERABILITYPub. L. 106-3792000, provided that: "If the provisions of paragraph (1) [see Effective Date of 2000 Amendment note above], or any application of such provisions to any person or circumstance, is held to be invalid, the remainder of this section [amending this section and enacting provisions set out as a note above], the amendments made by this section, and the application of this section to any other person or circumstance shall not be affected by such invalidation."
CONSTRUCTION OF 1998 AMENDMENTPub. L. 105-2981998, provided that: "Except as otherwise provided in this title [enacting section 512 of this title, amending this section and sections 110 and 504 of this title, and enacting provisions set out as notes under this section], nothing in this title shall be construed to relieve any performing rights society of any obligation under any State or local statute, ordinance, or law, or consent decree or other court order governing its operation, as such statute, ordinance, law, decree, or order is in effect on the date of the enactment of this Act [Oct. 27, 1998], as it may be amended after such date, or as it may be issued or agreed to after such date."
FIRST AMENDMENT APPLICATIONPub. L. 101-6501990, provided that: "This title [see Short Title of 1990 Amendment note above] does not authorize any governmental entity to take any action or enforce restrictions prohibited by the First Amendment to the United States Constitution."
BERNE CONVENTION; CONGRESSIONAL DECLARATIONSPub. L. 100-568, §2, Oct. 31, 1988, 102 Stat. 2853, provided that: "The Congress makes the following declarations:"(1) The Convention for the Protection of Literary and Artistic Works, signed at Berne, Switzerland, on September 9, 1886, and all acts, protocols, and revisions thereto (hereafter in this Act [see Short Title of 1988 Amendment note above] referred to as the 'Berne Convention') are not self-executing under the Constitution and laws of the United States."(2) The obligations of the United States under the Berne Convention may be performed only pursuant to appropriate domestic law."(3) The amendments made by this Act, together with the law as it exists on the date of the enactment of this Act [Oct. 31, 1988], satisfy the obligations of the United States in adhering to the Berne Convention and no further rights or interests shall be recognized or created for that purpose."
BERNE CONVENTION; CONSTRUCTIONPub. L. 100-568, §3, Oct. 31, 1988, 102 Stat. 2853, provided that:"(a) RELATIONSHIP WITH DOMESTIC LAW.-The provisions of the Berne Convention-"(1) shall be given effect under title 17, as amended by this Act [see Short Title of 1988 Amendment note above], and any other relevant provision of Federal or State law, including the common law; and"(2) shall not be enforceable in any action brought pursuant to the provisions of the Berne Convention itself."(b) CERTAIN RIGHTS NOT AFFECTED.-The provisions of the Berne Convention, the adherence of the United States thereto, and satisfaction of United States obligations thereunder, do not expand or reduce any right of an author of a work, whether claimed under Federal, State, or the common law-"(1) to claim authorship of the work; or"(2) to object to any distortion, mutilation, or other modification of, or other derogatory action in relation to, the work, that would prejudice the author's honor or reputation."
WORKS IN PUBLIC DOMAIN WITHOUT COPYRIGHT PROTECTIONPub. L. 100-568, §12, Oct. 31, 1988, 102 Stat. 2860, provided that: "Title 17, United States Code, as amended by this Act [see Short Title of 1988 Amendment note above], does not provide copyright protection for any work that is in the public domain in the United States."
DEFINITIONSPub. L. 103-4651994, provided that: "For purposes of this title [enacting section 1101 of this title and section 2319A of Title 18, Crimes and Criminal Procedure, amending sections 104A and 109 of this title, sections 1052 and 1127 of Title 15, Commerce and Trade, and sections 41, 104, 111, 119, 154, 156, 172, 173, 252, 262, 271, 272, 287, 292, 295, 307, 365, and 373 of Title 35, Patents, enacting provisions set out as notes under section 1052 of Title 15 and sections 104 and 154 of Title 35, and amending provisions set out as a note under section 109 of this title]-"(1) the term 'WTO Agreement' has the meaning given that term in section 2(9) of the Uruguay Round Agreements Act [ 19 U.S.C. 3501(9) ]; and"(2) the term 'WTO member country' has the meaning given that term in section 2(10) of the Uruguay Round Agreements Act."
Section 102 - Subject matter of copyright: In general
Cases citing this statute
How cited
Leo Feist, Inc. v. Apollo Records, N.Y. Corp.
2. That the defendant Apollo is not responsible for a copyright infringement perpetrated by the making of a…
Varsity Brands, Inc. v. Star Athletica, LLC
Star asserts that Varsity's copyrights are invalid because the designs at issue are unprotectable "design [s]…
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Life story Fergie, whose real name is Stacy Ann Ferguson, an American singer, born on March 197,527 in California - United States of America.
Biography Life Story of Fergie.
Full real name: Stacy Ann Vrgosn.
Date of Birth: March 27, 1975.
Place of birth: California, United States of America.
Work: singer, fashion model, media.
Genre: Contemporary R & B, pop, hip-hop.
Fergie was born in 1975 in Hessenda Heights, California in the United States of America. Descended father of the Scottish roots of Irish-Mexican, was in many childhood movement and excessive activity, and this has her mother entered a dance school, and there found her agent where the acoustic performance of my character Sally and Lucy cartoon, in the period from 1984 to 1989 she spent the summer periods in the vocals months Lyrics in a program to discover talent. At the same time was a studious schoolgirl until she was strong competitors in the Spelling Bee, but she suffered in a period of addiction to some substance. Fergie appeared small as an actress on the TV show (kids incorporated) for several years with Renee Sandstorm, where he was able to display her talents singing. In 2005, the audio performance of many cartoon characters. In 2007 she appeared in the horror film (the grind house).
As for the vocals, Fergie has started professionally after joining a trio band female wild orchid, which included Zmilleteha Rene Sanderstorm and Stephanie Riedel, where the team released two albums and concerts, but the manufacturer refused to produce the third album, so I decided to leave the team. And shortly after that and in 2003 was the team black eyed peas recorded third album, so they asked them to share their recorded song shut up and, caught up with the band immediately to join them to work more than five additional songs, helped by its presence in the band at the speed of the spread and reputation for the team globally. In 2006 he decided Fergie work as a solo artist without being separated from the team, which released her first album (the dutchess) that some of his songs have achieved a sweeping success, such as (for Ondon Bridge, Vrglhes, Ghulamros, Klomsa) and was the most successful songs have the summer of 2007 (Big Girls Donut Cray).
- Mtv Australia Award for the most exciting video for the song fragelios.
- Much music prize awards for songs for the best comic artist and audience choice globally.
- Teen Choice Award for best singer.
- Mtv to sing Latin Award for best new international artist.
- American Music Award for Best Pop Rock artist.
- Nominated for awards for world music awards for best-selling R & B, and the award for best-selling new artist.
- Nominated for a Grammy for Best Female Pop.


Cardiovasc Res. 2014 Sep 1;103(4):473-84. doi: 10.1093/cvr/cvu154. Epub 2014 Jun 15.
Critical role of matrix metalloprotease-9 in chronic high fat diet-induced cerebral vascular remodelling and increase of ischaemic brain injury in mice†.
Deng J1, Zhang J2, Feng C2, Xiong L3, Zuo Z4.
Department of Anesthesiology, University of Virginia, 1 Hospital Drive, PO Box 800710, Charlottesville, VA 22908-0710, USA Department of Anesthesiology, Xijing Hospital, Fourth Military Medical University, Xi'an 710032, Shaanxi, People's Republic of China.
Department of Anesthesiology, University of Virginia, 1 Hospital Drive, PO Box 800710, Charlottesville, VA 22908-0710, USA.
Department of Anesthesiology, Xijing Hospital, Fourth Military Medical University, Xi'an 710032, Shaanxi, People's Republic of China zz3c@virginia.edu mzkxlz@126.com.
Department of Anesthesiology, University of Virginia, 1 Hospital Drive, PO Box 800710, Charlottesville, VA 22908-0710, USA zz3c@virginia.edu mzkxlz@126.com.
About one-third of American adults and 20% of teenagers are obese. Obesity and its associated metabolic disturbances including hyperlipidaemia are risk factors for cardiovascular diseases including stroke. They can worsen neurological outcome after stroke. We determined whether obesity and hyperlipidaemia could induce cerebral vascular remodelling via matrix metalloproteases (MMP) and whether this remodelling affected neurological outcome after brain ischaemia.
Six-week-old male CD1, C57BL/6J, and MMP-9(-/-) mice were fed regular diet (RD) or high-fat diet (HFD) for 10 weeks. They were subjected to vascular casting or a 90 min middle cerebral arterial occlusion (MCAO). Mice on HFD were heavier and had higher blood glucose and lipid levels than those on RD. HFD-fed CD1 and C57BL/6J mice had an increased cerebral vascular tortuosity index and decreased inner diameters of the middle cerebral arterial root. HFD increased microvessel density in CD1 mouse cerebral cortex. After MCAO, CD1 and C57BL/6J mice on HFD had a bigger infarct volume, more severe brain oedema and blood-brain barrier damage, higher haemorrhagic transformation rate, greater haemorrhagic volume, and worse neurological function. HFD increased MMP-9 activity in the ischaemic and non-ischaemic brain tissues. Although HFD increased the body weights, blood glucose, and lipid levels in the MMP-9(-/-) mice on a C57BL/6J genetic background, the HFD-induced cerebral vascular remodelling and worsening of neurological outcome did not occur in these mice.
HFD induces cerebral vascular remodelling and worsens neurological outcome after transient focal brain ischaemia. MMP-9 activation plays a critical role in these HFD effects.
MMP-9 knockout abolishes HFD-induced remodelling in cerebral macrovessels. Cerebral vascular casting was produced by infusing PU4ii with blue dye. (A) Representative images of the dorsal surface of the cerebrum. (B) Tortuosity index of the MCA medium size branches. (C) Number of collaterals between MCA and ACA or between MCA and PCA. (D) Representative images of brain area at the MCA root. An arrow in the first panel indicates the MCA. (E) Quantification of the inner width of the MCA root. Results in B, C, and E are means ± SD (n = 7–9). *P < 0.05 compared with the corresponding results from mice fed regular diet.
Cardiovasc Res. 2014 Sep 1;103(4):473-484.
HFD induces remodelling in cerebral macrovessels and microvessels. Cerebral vessels in brain sections of CD1 and MMP-9−/− mice were revealed after immunostaining for vWF. (A and B) Representative images of brain area at the MCA root of CD1 mice. (C and D) Representative images of CD1 mouse cerebral cortex. Inserts in these two panels are ×200 magnifications. (E) Wall thickness of the MCA root of CD1 mice. (F) Microvessel density in the CD1 mouse cerebral cortex. (G and H) Representative images of brain area at the MCA root of MMP-9−/− mice. (I and J) Representative images of MMP-9−/− mouse cerebral cortex. (K) Wall thickness of the MCA root of MMP-9−/− mice. (L) Microvessel density in the MMP-9−/− mouse cerebral cortex. Scale bar in each panel represents 200 µm. Results in E, F, K, and L are means ± SD (n = 4–7). *P < 0.05 compared with the corresponding results of mice fed regular diet.
Physiological data. Body weights were determined before mice were subjected to a 90 min right MCAO. The heart rates, SpO2 and rectal temperatures were readings at 5 min after the onset of the MCAO. Results are means ± SD (n = 7–14). *P < 0.05 compared with the corresponding results of the mice fed regular diet.
MMP-9 knockout abolishes HFD-induced worsening of neurological outcome after transient focal brain ischaemia. Mice were subjected to a 90 min right MCAO. (A) Representative brain slices stained with 2,3,5-triphenyl-tetrazolium chloride. (B–E) Quantitative results. Results are means ± SD (n = 9–12). *P < 0.05 compared with the corresponding results from the mice fed regular diet.
MMP-9 knockout abolishes HFD-induced increase of haemorrhagic volumes in the brain. Mice were subjected to a 90 min right MCAO and haemorrhagic volumes were evaluated at 24 h after the MCAO. (A) Representative images of fresh brain slices. Arrow indicates haemorrhage. (B) Quantitative results. Results are means ± SD (n = 8–14). *P < 0.05 compared with the corresponding results of mice fed regular diet. ^P < 0.05 compared with the corresponding results of C57BL/6J mice fed HFD.
HFD increases MMP-9 activity in ischaemic and non-ischaemic brain tissues. (A) MMP-9 activity. (B) MMP-2 activity. Representative zymographical images are presented in the top panel. A graphic presentation of MMP-9 and MMP-2 activity quantified by integrating the volume of autoradiograms is shown in the bottom panel. Values in graphs are the means ± SD (n = 6–11). *P < 0.05 compared with corresponding sham-operated mice. ^P < 0.05 compared with corresponding mice that were fed regular diet and but were not subjected to the MCAO. #P < 0.05 compared with corresponding mice that were fed regular diet and subjected to the MCAO.
Effects of brain ischaemia and HFD feeding on MMP-9 protein expression. Representative western blotting images are presented in the left panel and the graphic presentation of protein expression is shown in the right panel. Values in graphs are the means ± SD (n = 7–9). *P < 0.05 compared with the corresponding sham-operated mice.
HFD increases IgG extravasation in the ischaemic brain tissues. C57BL/6J and MMP-9−/− mice were subjected to a 90 min right MCAO or sham surgery. Their brains were harvested at 24 h after the MCAO or surgery. Coronal brain sections at Bregma −0.98 were immunostained for IgG (in brown). (A and B) Microscopic photos in the right striatum and frontal cortex area 1 (Fr1). Scale bar in each panel represents 200 µm. (C and D) quantification of IgG extravasation. Results are means ± SD (n = 3–5). *P < 0.05 compared with the corresponding sham-operated mice.
HFD inhibits phosphorylation of eNOS in the ischaemic brain tissues. C57BL/6J and MMP-9−/− mice were subjected to a 90 min right MCAO or sham surgery. Their brains were harvested at 24 h after the MCAO or sham surgery. (A and B) phospho-eNOS in the frontal cortex area 1 (Fr1) and striatum of the C57BL/6J and MMP-9−/− mice. (C and D) eNOS in the Fr1 and striatum of the C57BL/6J and MMP-9−/− mice. Results are means ± SD (n = 4–6). *P < 0.05 compared with the corresponding sham-operated mice.


This collage jigsaw puzzle features the wonderful game of American Mah Jongg from it's history and growth in USA.
Have fun putting this together with your friends.
1000 Piece Jigsaw Puzzle. Finished Size 20" x 27"


text:
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There are always a few big surprises and heartbreaks come Oscar nomination morning, but this year's batch seemed to have more than its fair share of shockers — good and bad.
'Everything Everywhere' tops Oscar nominations with 11. See the list of nominees here.
The multiverse-skipping sci-fi indie hit "Everything Everywhere All at Once" led nominations to the 95th Academy Awards.
This week's new releases include Jennifer Lopez's return to rom-com, 'You People' and more
Also coming this week: Fresh albums from Sam Smith and Elle King, Natasha Lyonne as a friendly drifter in "Poker Face," and "Accused" on Fox.
Jeremy Renner broke '30-plus bones' in snowplough accident
Taking to Instagram on Saturday, The Avengers star shared a glimpse into his recovery after he suffered blunt chest trauma and other injuries after being hit by the machine at his Nevada home on January 1st.
The 30 highest-grossing actors under the age of 30
Most of these actors started their careers as children, working in theater, commercials, and television, before landing breakout roles in films and film franchises that would go on to be worldwide hits.
25 iconic outfits from Grammys history
From Aretha Franklin to Lenny Kravitz, take a tour through 25 of the most celebrated outfits worn over 50 years of the Grammys.
Six incredible actors who have never won an Oscar
Here are six amazing actors who have shockingly never won an Oscar, some of them have never even been nominated for one.
Remembering Lisa Marie Presley, the green comet, debt limit predictions, and more top news from the past week
From the death of Lisa Marie Presley, to Biden's classified documents investigation, here are the top national stories from the past week.
Here's what to expect from Tuesday's Oscar nominations
What are the favorites heading into Tuesday's nominations? Here's what to watch for.
Photos: Notable Deaths in 2023
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Photos: Remembering David Crosby (1941-2023)
A look back at the life and career of David Crosby, who died Wednesday at age 81.
Now playing: Reviews of movies showing in theaters or streaming online
(RATINGS: The movies listed below are rated according to the following key: 4 stars — excellent; 3 stars — good; 2 stars — fair; 1 star — poor.)
Highest-grossing actors over the age of 50
Using data from The Numbers, Stacker compiled a list of the highest-grossing actors over the age of 50.
This week's bestsellers from Publishers Weekly
Here are the bestsellers for the week that ended Saturday, Jan. 14, compiled from data from independent and chain bookstores, book wholesalers and independent distributors nationwide, powered by NPD BookScan © 2023 NPD Group. (Reprinted from Publishers Weekly, published by PWxyz LLC. © 2023,…
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JERUSALEM, June 30 (Xinhua) -- Israeli security forces discovered on Monday evening the bodies of three Israeli teens, who went missing on June 12, near Hebron in the West Bank, the military confirmed.
The bodies of 19-year-old Eyal Yifrach cheap nike air max 95 , Naftali Frankel and Gilad Shaer, both 16, were found in the Judean Hills in the southern West Bank, north of Hebron, between the Palestinian town of Beit Ummar and Halhul. Their bodies were discovered in an area controlled by the Palestinian Authority nike air max 95 ireland , not far from where they were considered to be kidnapped.
Israeli Prime Minister Benjamin Netanyahu will convene his diplomatic-security cabinet at 9:30 p.m. local time (GMT1830) to discuss the recent developments and possible courses of action. The Israeli parliament stopped deliberations immediately following the developments and will resume working on Tuesday.
Hundreds of Israeli soldiers were operating near Halhul to retrieve the bodies, prompting clashes with Palestinian protesters who hurled stones at the soldiers and their vehicles. The suspected kidnappers have not been apprehended.
Israeli security forces conducted a manhunt in the West Bank territories in the past two weeks dubbed as operation "Brother's Keeper" to track down the missing teens and their suspected kidnappers. More than 420 Palestinian suspects were arrested and some of Hamas' institutions were closed.
The operation included raids and overnight operations across the West Bank and searches were conducted in more than 2,200 locations, according to the Israeli army. More than four Palestinians were killed in clashes between Palestinians and Israeli security forces in the past two weeks.


From houses divided to fiercely loyal dragons and perpetual deaths to red and purple weddings, the epic series has united people for eight years.
Some of its biggest questions remain unanswered. Who will sit on the Iron Throne? Will the apocalyptic army of White Walkers kill everyone on both sides?
While we don't know what will unfold, we know author George R. R. Martin promises one thing – a bittersweet ending.


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Is Romeo and Juliet a Good Ballet?
Connor Phillips
Romeo and Juliet is a timeless classic, and it has become one of the most popular ballets in the world. It is a story of two star-crossed lovers, who fight to be together despite their families' disapproval. The ballet brings out the emotion, tragedy and romance of this beloved story.
The story of Romeo and Juliet is enhanced by the beautiful music composed by Sergei Prokofiev for the ballet. His music captures the romance between Romeo and Juliet as well as the tragedy that follows. The choreography also adds to the story, making it an even more moving experience for audiences.
The staging of Romeo and Juliet is also important in creating an atmosphere that evokes emotion from viewers. Set designs are often elaborate, with detailed backdrops to create a realistic world for these characters to inhabit. Costumes are also carefully chosen to help bring out the characters' personalities and bring depth to their performances.
Many acclaimed dancers have performed in Romeo and Juliet, adding their own interpretation of the characters' emotions through movement. These dancers bring life to this classic story with their skillful portrayals of its key moments.
Overall, Romeo and Juliet is an excellent ballet that captures all aspects of this beloved classic in a unique way that can be appreciated by audiences worldwide. It is no wonder that it has remained one of the most popular ballets for so many years.
Absolutely! With its beautiful music, choreography, staging and performances, Romeo and Juliet is an excellent ballet that should not be missed by any lover of dance or theater!
Is Romeo and Juliet a Ballet?
Romeo and Juliet is a timeless classic, written by the legendary playwright William Shakespeare. The story of two star-crossed lovers from two warring families has been adapted into several forms of media, including opera, ballet, film, and television. Of all these adaptations, the one that stands out the most is Romeo and Juliet as a ballet.
Is Romeo and Juliet a Classical Ballet?
Romeo and Juliet is one of the most iconic classical ballets of all time. It is based on the classic Shakespearean tragedy and has been performed by some of the world's leading ballet companies since its premiere in 1868. The story follows the two star-crossed lovers as they try to defy their families' feud and find happiness together.
Is Romeo and Juliet by Tchaikovsky a Ballet?
Tchaikovsky's Romeo and Juliet is a beloved ballet that has been performed for over a century. The music of the ballet is composed by the renowned Russian composer Pyotr Ilyich Tchaikovsky, and it is based on William Shakespeare's iconic play about two star-crossed lovers. It is one of the most popular ballets in the world and has been performed by countless companies since its debut in 1870.
Is Tchaikovsky's Romeo and Juliet a Ballet?
Pyotr Ilyich Tchaikovsky's Romeo and Juliet is one of the most iconic pieces of ballet music ever composed. Written in 1869, it is considered to be one of Tchaikovsky's greatest works. The music is full of drama, passion, and romance, making it perfect for a ballet performance.
Is Romeo and Juliet a Russian Ballet?
Romeo and Juliet is one of the most beloved ballets of all time, but is it a Russian Ballet? The answer is both yes and no. Romeo and Juliet was first choreographed by Marius Petipa in 1899 for the Bolshoi Ballet in Moscow, Russia.
Is Romeo and Juliet a Romantic Ballet?
Romantic ballets are often thought of as a timeless, traditional form of storytelling. Romeo and Juliet is one of the most well-known and beloved examples of this genre. The story follows the ill-fated romance between two young lovers from warring families, and has been adapted for the ballet stage countless times over the centuries.
Is Romeo and Juliet an Opera or a Ballet?
Romeo and Juliet is a timeless classic that has been adapted, re-told and performed in many different mediums over the years. It has been a ballet, an opera and a play, to name a few. But what is the difference between them?
Is Los Angeles Ballet a Good Company?
The Los Angeles Ballet is an impressive professional ballet company that has been providing outstanding performances for the city of Los Angeles for over a decade. The company was founded in 2006 and has been hailed by critics and audiences alike for its stunning productions and innovative programming. The Los Angeles Ballet features an impressive array of talent, with many dancers coming from around the world to join this esteemed company.
Is Don Quixote Good Ballet?
The ballet Don Quixote is a classic work by the great Spanish choreographer Marius Petipa. It is based on the novel by the same name, written by Miguel de Cervantes in the early 17th century. Originally created in 1869 for the Imperial Ballet of St.
Is Spartacus a Good Ballet?
The ballet Spartacus is an interpretation of the life of a Thracian warrior who led a slave revolt against the Roman Empire in 73 BC. The ballet was choreographed by Yury Grigorovich and first performed in 1968 by the Bolshoi Ballet at the Bolshoi Theatre in Moscow. The ballet follows Spartacus's journey from being a slave to leading an uprising against Rome.
How Do I Connect Speaker Wire to My Home Theater?
What Jobs Can You Do With a Musical Theatre Degree?


I started working with Enservio a little over five years ago, about the time Hurricane Ike hit. I had lost my job when the hurricane struck and shortly thereafter I was fortunate to be introduced to Enservio. The experience of living through a hurricane is hectic to say the least. Everything, and anything, around you is moving. I don't have a firsthand account of what it's like to be physically inside in the middle of a hurricane, but coming home and seeing the aftermath was incredibly demoralizing and emotional. It's a difficult process to pick yourself back up and figure out where to start with the rebuilding. You ask yourself, where do I begin? What do I do? Who do I call?
Hurricane Ike hit Galveston Island directly, which is where my house was and still is today. Living on the island we were forced to evacuate, and I left approximately 40 hours before the storm actually hit. I went about 200 miles inland. And then I came home the night after the storm.
Since that time I've experienced more severe weather experiences while employed with Enservio. I travel all over the country and have helped people rebuild after, not just other, hurricanes but tornadoes too.
Most recently I was in Moore, Oklahoma. While I was working there with the SOS catastrophe team on claims for the original tornado, less than a week later we were actually chased out of town by another tornado. Bad weather is part of the job. We chased it, and then it chased us right back.
These things are called super storms for a reason. I think the biggest advice that we give to our own staff is to just be prepared for anything and everything and be mentally prepared to help people in ways that you just normally wouldn't imagine.
It goes way above and beyond the typical handling of a claim when you're dealing with this type of a loss. It's not a regular everyday insurance claim. These claimants don't just need help getting their house back in order. They need help getting their life back in order. So we have to be mentally prepared to help people with the emotional roller coaster that they're going through. That's the best advice we try to give and prepare ourselves with when going into these kinds of situations.
This entry was posted in Boots on the Ground, Weather and tagged Career, Enservio, hurricane, Hurricane Ike, Moore, Oklahoma, Service on Site, SOS, Tornado. Bookmark the permalink.


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Culture & religions
Biden Needs a Plan B for Yemen If Houthis Win
By David Schenker on 4 November 2021 Headlines
Ending the war under the current circumstances will generate new problems unless further steps are taken to interdict weapons smuggling and bolster security in Saudi Arabia and the Red Sea.
Poor Tim Lenderking. In February, the veteran U.S. diplomat—one of the State Department's best and brightest Middle East hands—drew the short straw and was appointed the Biden administration's special envoy to Yemen. Since then, not only has he been charged with the unenviable task of brokering an end to the seven-year war between the Iranian-backed Houthi rebels and the Saudi-backed government of Yemeni President Abed Rabbo Mansour Hadi, but he has also been responsible for containing the worst humanitarian crisis on the face of the earth. Regrettably, on both accounts, it's not going well.
Lenderking isn't to blame. Successful diplomacy depends on effective leverage, which Washington lacks. To be sure, the United States can pressure Saudi Arabia, but these days Riyadh doesn't need any persuasion to want to end the war. In fact, in recent years, the Saudis have engaged in what are, by all accounts, good-faith talks on the future of Yemen, including with arch-foe Iran. The problem is the Houthis, who have proved consistently recalcitrant and are now playing for time as they make slow but steady progress on the battlefield. Indeed, the Houthis have little incentive to come to the table when the Hadi government and its local allies' forces are splintered, insufficiently armed, and frequently fighting one other—a series of conditions the Saudis have been unable to rectify.
The Houthi inclination toward a military rather than a negotiated solution is paying off. Two years into their military campaign in Marib—a strategic governorate named for its capital city—the rebels are on the verge of conquering both. The oil-rich region is among the last key areas in the north contested by the Hadi government and a gateway to Shabwa, another Hadi-held governorate with important energy resources and infrastructure. It would be a Pyrrhic victory—the Houthis have reportedly lost thousands of soldiers, many of them children, in the effort—but it would represent a turning point.
If they defeat the Saudi-backed Yemeni national army in one of its last major strongholds in the north and take control of the energy center of Yemen, the Houthis would essentially have won the war. For Riyadh, Washington, and the Yemeni people, this represents a worst-case scenario. Even if the war were to end, the humanitarian situation would remain critical, with two-thirds of Yemen's 30 million citizens continuing to face famine and depending on the United Nations World Food Program for daily sustenance. Meanwhile, Iranian proxies will control another Arab country, and Saudi Arabia will remain vulnerable to missile and drone attacks from its southern neighbor.
Yemen is yet another problem from hell for the Biden administration. As with Afghanistan, the U.S. government will likely soon be faced with the challenge of another failed state led by a militant Islamist organization with millenarian delusions—even if the Houthis are nominally Shiite.
The potential consequences are considerable. Not only might the Houthis persist in militarily targeting the United States' Gulf allies, but if the shaky Saudi coalition loses the Yemeni port city of Hodeida and the rest of the Red Sea coast, the Houthis could also more easily disrupt the more than 6 million barrels of oil and petroleum products per day transiting through one of the world's key chokepoints, the Bab el-Mandeb Strait. In addition, the Houthis refuse to allow the repair or disposal of Yemen's aging, single-hulled oil tanker anchored as floating oil storage 5 miles off the coast, which is an environmental disaster waiting to happen. Should the 45-year-old vessel sink, a million barrels of oil could leak into the Red Sea, restricting port access, impacting desalinization plants and freshwater supplies to as many as 10 million people, and interrupting fishing, further exacerbating the humanitarian crisis.
There's no good solution to Yemen. Like the Trump and Obama administrations before it, the current White House has tried and failed to cajole the parties toward a negotiated solution. The key now is to shape the disposition of what will almost inevitably be the first Iranian-dominated state in the Arabian Peninsula in several centuries.
For better or worse, chances are zero that the Biden administration will attempt to forestall a total Houthi victory, either by working with the Saudis to better arm and organize the Hadi government and its local allies or by ordering the U.S. military to intervene directly. After the likely end of the war, it will therefore be incumbent on the United States to contain Iranian mischief in a Houthi-controlled Yemen, keep Red Sea shipping safe, and blunt the Houthis' territorial ambitions in Saudi Arabia.
Notwithstanding U.S. President Joe Biden's obvious antipathy toward Saudi Crown Prince Mohammed bin Salman, the first order of business will be to bolster the kingdom's defensive capabilities. Over the past two years, Saudi Arabia has markedly improved its ability to counter the Houthi missile and drone threat. But to continue doing so, Riyadh will require a U.S. commitment to replenish its defensive arsenal, including Patriot anti-missile batteries and anti-aircraft missiles used to target incoming drones.
Another step is for Biden to put the Houthis back on the list of foreign terrorist organizations, a designation he revoked upon taking office. While the Houthis' status is a topic of debate, I believe then-Secretary of State Mike Pompeo was correct when he officially labeled them terrorists—the group intentionally bombs hospitals, recruits and deploys child soldiers, and on Dec. 30, 2020, attempted to kill all the members of the internationally recognized Yemeni government. But while the terrorist designation may have met the criteria, it's unclear that it ultimately would have impacted the group's behavior or limited its finances.
Beyond bilateral defensive assistance to the Saudis, the Biden administration should quickly—starting now, in anticipation of the end of the war—establish a multilateral Red Sea security mechanism to interdict illicit weapons shipments, stop human and other trafficking, and prevent the harassment of shipping, including by laying mines, at the southern end of the Red Sea. If pitched as a broad international effort to combat all security issues related to global shipping in and around the Gulf of Aden—in other words, not framing it as a Yemen-specific mission aimed only at the Houthis and Iran—the initiative could gain traction. To this end, the administration should explore whether the duties of the existing counterpiracy mission known as Combined Task Force 151 could be expanded.
Perhaps most importantly, to prevent Iran from fully completing its project of recreating a Hezbollah-like entity on Saudi Arabia's southern front once the Houthis gain control, the Biden administration will need to reinvigorate the 2015 U.N. arms embargo on Yemen. This will require continued and additional maritime interdiction efforts as well as enforcement of the embargo on air traffic to prevent smuggling of advanced Iranian military equipment. Notwithstanding the Biden administration's efforts to build back a better nuclear agreement with Iran, putting teeth into the U.N. arms embargo may also require Washington to sanction or otherwise penalize Tehran for continuing to supply its proxy with destabilizing weapons.
Should the Biden administration fail, the risk is not just that more and increasingly advanced weaponry with Iranian components will be pointed from Yemen toward Riyadh. Concerned about Houthi and Iranian intentions, the Israelis twice this year deployed Patriot and Iron Dome missile defense batteries against potential missiles and drones emanating from Yemen.
It's still possible that the Hadi government will unite with Yemeni factions opposing the Houthis to launch a counteroffensive, the Saudis will begin aggressively arming the Yemenis in Marib to give them a chance at winning, or fortunes will otherwise dramatically reverse. But the probable outcome is that Washington's adversaries are going to win this war—and sooner rather than later. Given the bleak trajectory, it's time for the Biden administration to craft a plan B to contend with a Yemen controlled by Iranian proxies.
David Schenker is the Taube Senior Fellow at The Washington Institute and a former assistant secretary of state for Near Eastern affairs during the Trump administration. This article was originally published on the Foreign Policy website.
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Judas Horse, by Lynda La Plante
A series of burglaries among rich countryside occupants leads the local force to request external help. Detective Jack Warr is dispatched to the Cotswolds to aid the investigation. However, his methods lead to conflict within the team. Can Jack unite the police to capture the burglar before they escalate to violence and even murder…?
Judas Horse is the second book by Lynda La Plante to feature Jack Warr, a detective whose moral sense of justice sometimes sees him flouting the law. It isn't necessary to have read the first book as there are no spoilers but Buried was great so I would recommend reading it!
Jack Warr's character is hugely likeable and entertaining. Personally, he has a newborn baby and is adapting to life without his biological and adopted fathers. Professionally, he is trustworthy but an irritant to his fellow officers, playing witnesses, manipulating and disregarding protocol. He was instrumental in solving a complicated crime within his own locality so he is transferred to the countryside when they struggle to deal with a spate of burglaries which are escalating.
The case itself becomes more intricate than it initially appears. The burglaries are getting more violent and Warr urgently needs to find out how the burglars are accessing information. He needs a Judas Horse (see book blurb for a definition!) Jack soon has suspects in mind but needs to go undercover to find the truth and cach the ringleaders.
The relationships between Jack and the other characters underpin the whole book and make it very enjoyable. He is a master at reading people, recognising their strengths and weaknesses. He then uses this for his own ends and I think the police should be grateful he is on their side!
Judas Horse is an engaging and action filled police thriller from a confident author.
Judas Horse – Lynda La Plante
The brand new Detective Jack Warr thriller from the Queen of Crime Drama, Lynda La Plante – now available to pre-order in hardback, eBook and audiobook.
'Do you know what a Judas Horse is? When the wild mustangs are running free, you corral one and train it. When he's ready, you release him and he'll bring his team back into the corral – like Judas betraying them…'
Violent burglars have been terrorising residents across the English countryside. But when a mutilated body is discovered in a Cotswolds house, it becomes clear that this is no ordinary group of opportunist thieves.
As Detective Jack Warr investigates, he discovers locals with dark secrets, unearths hidden crimes – and hits countless dead ends. With few leads and the violent attacks escalating, he will have to act as audaciously as the criminals if he hopes to stop them.
When Warr meets Charlotte Miles, a terrified woman with links to the group, he must use her to lure the unsuspecting killers into one last job, and into his trap. But with the law already stretched to breaking point, any failure will be on Warr's head – and any more blood spilled, on his hands…


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Maryland Forging Ahead With Cloud-Enabled Services Platform
The State of Maryland Department of Human Services (DHS) is making big strides in a two-year campaign to create an AWS-powered technology environment that will integrate the state's health and human service applications to more effectively deliver services to state residents.
The environment– Maryland Total Human-Services Integrated Network, or MD THINK – aims to allow Maryland's Social Service Administration, Family Investment Administration, and Child Support Administration to share and manage data on one platform in the cloud. That's according to DHS Chief Technology Officer Subramanian Muniasamy who spoke about the project at the AWS Public Sector Summit.
"This is a cloud-based technology platform we are building to integrate all these three programs," Muniasamy said. And it may be a sign of further change to come, as the CTO said MD THINK can be expanded to other agencies as well.
An accumulation of aging IT technologies that produced poor results was the driving force behind the project, the CTO said.
DHS's programs were mired in isolated architectures, siloed data, and passive systems. Those results in expensive maintenance, difficulties in creating modifications, and most importantly, poor customer experience, Muniasamy said. IT staff struggled with point-to-point access control and governance, and data integrity was weak compared to the alternative of an integrated cloud platform.
"We are trying to … minimize the data collection redundancy," Muniasamy said. "By doing that, we will be able to maintain the data integrity across the board. … You will be able to mitigate or minimize the fraud, waste, and abuse."
All that began to change in 2017 when DHS began its cloud procurement process, established a steering committee for the tech overhaul project, and ultimately adopted AWS cloud services as the new home for its data.
After a couple years of development, DHS has plans to deploy its Child, Juvenile, and Adult Management systems onto MD THINK. Next on the horizon is integrating the Maryland Health Benefit Exchange's application. DHS will spend the next two years onboarding programs and other agency applications, and aims to make MD THINK fully operational by 2021.
Muniasamy ticked off a list of benefits MD THINK will bring to residents, case workers, and the state:
The benefit of maintaining data on a single, integrated platform, provides a modernized cloud-based resource with a "no wrong door" approach for various health and human services;
The state will see lower costs through hosting service consolidation;
Service delivery speed will pick up through reducing bother paper-based processes and duplicative data entry; and
Service quality will jump due to shorter enrollment turnaround times, driven by a streamlined eligibility determination process.
Concrete progress is already underway, in the form of seven Authority to Operate approvals, 20 AWS accounts provisioned, 65 application environments created, and 2,000 Amazon Elastic Compute Cloud (EC2) instances.
MD THINK has 30,000 external and 1,000 internal users onboarded, as well as 30 AWS products deployed. The user base and application count will continue to grow as DHS continues to develop MD THINK and to migrate agency data onto the platform.
Muniasamy said other government IT teams shouldn't be afraid to take a dive in the deep end and embrace cloud adoption as well.
"The 'fast and furious' is a key to really make the success," he said. "It's a huge risk we are taking, but somebody has to take a risk."
MD THINK
Subramanian Muniasamy
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