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Difference between revisions of "License Versions"
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In 4.0, reference to distribution in a collection was removed from the license as unnecessary. There is no change from previous versions, however.
====Licensing of contributions to BY and BY-NC adaptations====
====dongdong Li of contributions to BY and BY-NC adaptations====
The 4.0 licenses make clear for the first time [[Frequently_Asked_Questions#If_I_derive_or_adapt_material_offered_under_a_Creative_Commons_license.2C_which_CC_license.28s.29_can_I_use.3F|how contributions to adaptations of BY and BY-NC works may be licensed]]. Specifically, an adapting licensee may apply any license to her contributions provided that license does not prevent users of the adaption from complying with the original license. While new in 4.0, the introduction of this provision is intended as a clarifier only and is not a change from how earlier versions operate.
This page identifies the principal improvements to the Creative Commons license suite since the publication of the first licenses (version 1.0) in December 2002, through the current version 4.0, published November 2013. It also highlights important similarities and differences among the major license versions. For more information on using CC tools or works offered under Creative Commons licenses, consult the Frequently Asked Questions page. For a further historical perspective, you are invited to review deprecated CC legal tools identified on the retired legal tools page.
Please note that the summaries below may not reflect all changes between license versions or fully or accurately describe the differences between them. CC cannot provide legal advice, and what follows is not legal advice. What follows below is a general description of differences and similarities between the license versions, for general informational purposes only. Consult your own attorney if you are in need of legal advice.
License Versioning History
The chart below presents the major license versions, launch dates, and blog posts announcing major public comment periods, the launch of each license suite, and improvements. It does not reference the unfinished version 3.x (3.01 or 3.5) licenses, which did not include active public consultation and were never published. Version 4.0 is the premier, recommended Creative Commons license suite.
License version [1]
Calls for public comment
Launch announcement
Explanation of changes from prior version
1.0 2002 Dec 16 Creative Commons Unveils Machine-Readable Copyright Licenses
2.0 2004 May 25 Versioning -- Public Review Begins Announcing (and explaining) our new 2.0 licenses Announcing (and explaining) our new 2.0 licenses
2.5 2005 June Tweaking CC's Standard Attribution Language -- An Invitation to Comment Comments Period Drawing to a close for Draft License Version 2.5
3.0 2007 Feb 23 Version 3.0 -- Public Discussion Launched Version 3.0 Launched Creative Commons Version 3.0 Licenses -- A Brief Explanation
4.0 2013 Nov 25
Initial announcement: Copyright Experts Discuss CC License Version 4.0 at the Global Summit
Beginning of public discussion: Version 4.0 – Public Discussion Launches
Draft 1: Version 4.0 – License Draft Ready for Public Comment!
Draft 2: Draft 2 of 4.0 Ready for Public Comment
Draft 3: 4.0 draft 3 published – final comment period underway
Draft 4: 4.0 draft 4 ready for comment — final consultation before publication
CC's Next Generation Licenses — Welcome Version 4.0!
What's New in 4.0: Summary
Policy decisions and versioning notes
Creative Commons Version 4.0 wiki pages
↑ Note that CC released a version 2.1 suite for jurisdictions like Spain, Australia, and Japan, whose localized ports of the 2.0 suite contained errors.
International License Development Process
Creative Commons develops, releases, and updates its public copyright licenses (and other legal tools) via an open and inclusive process of engagement with Creative Commons' global network of attorneys and affiliates, as well as varied communities and constituents. The process culminates in the publication of the preferred, most up-to-date set of CC licenses for use around the world. Creative Commons released its latest version of the licenses in November 2013, the 4.0 international licenses.
The public license development process includes the publication of drafts, formal comment periods, and transparent decision-making. In recognition of its stewardship role, CC has also made public commitments about the development of its ShareAlike licenses: the Statement of Intent for Attribution-ShareAlike licenses following the publication of 3.0, and a continuation of that statement to be finalized following the publication of version 4.0.
While each version of licenses is drafted to conform with copyright law, the version 4.0 license suite includes significant improvements to ensure the licenses operate well internationally. Through extensive consultation with our global network of legal affiliates, the 4.0 international license suite is designed for use in jurisdictions around the world, without the need for localization beyond translation. CC has an established a policy for official translations of the 4.0 licenses as well as other legal tools.
Prior to version 4.0, Creative Commons granted permission to legal experts around the world to adapt (or "port") the licenses where necessary to more fully align the text with the laws of different legal jurisdictions, and to translate the licenses to the local language(s). For the 4.0 suite, every effort has been made to avoid the need to port (though we will support official language translations). CC may consider requests to port the 4.0 suite in 2014, but only where a compelling need is demonstrated. If CC decides to consider requests, in no case will CC grant permission if the basis for doing so is to include a choice of law or if the change presented would otherwise alter the basic operation of the licenses. CC will post more information on the topic of porting in Q2 of 2014.
License Suite Versions
The chart below and linked explanations that follow detail some of the improvements and important similarities among Creative Commons license versions. Some of the explanations contain links to further information on the topic.
General license features
License Suite Version
All international (unported/generic) and ported licenses
Nomenclature (for unported licenses) Generic license Generic license Generic license International (unported) license International license
License scope (beyond copyright)
Express permission granted under sui generis database rights No No No EU ports only Yes
License conditions apply to sui generis database rights No Few ports only Few ports only No Yes
Treatment of moral rights Not addressed Not addressed Not addressed Varied Waived/not asserted
Trademark and patent explicitly reserved No No No No Yes
Other license features
Representations and warranties from licensor included Yes No No No No
Licensor expressly waives rights to enforce, and grants permission to circumvent, technological protection measures No No No No Yes
Automatic reinstatement after termination if violations corrected No No No No Yes, if corrected within 30 days
Express reservation of right by collecting society to collect royalty Not addressed Expressly waived where possible Expressly waived where possible Expressly waived where possible Expressly waived where possible
Element-specific features
Compatibility mechanism in BY-SA licenses same license only same license, later versions, or ports same license, later versions, or ports same license, later versions, ports, or CC-designated compatible licenses same license, later versions, CC-designated compatible licenses (including designated ports)
Compatibility mechanism in BY-NC-SA licenses No No No No Yes
Adaptations of SA material usable under conditions of adapter's license Yes (because adapter's license had to be same license) No No No Yes
Adaptations of NoDerivatives material permitted when not shared No No No No Yes
Attribution-specific elements
Attribution reasonable to means, medium, and context Medium and means, with exceptions Medium and means, with exceptions Medium and means, with exceptions Medium and means, with exceptions Explicit
Reasonableness applies to all attribution requirements All but license notices All but license notices All but license notices All but license and copyright notices All
Licensors may name other attribution parties Implied Implied Implied Explicit Explicit
Licensors may request removal of attribution Adaptations and collections only Adaptations and collections only Adaptations and collections only Adaptations and collections only Always
Title of work required Yes Yes Yes Yes No
URI required No If contains copyright notice or licensing information If contains copyright notice or licensing information If contains copyright notice or licensing information Yes
"No endorsement" clause included No No No Yes Yes
Modifications must be indicated No No No Yes, but only adaptations Yes
Detailed attribution comparison chart
Author if supplied Author if supplied Author if supplied and attribution parties if designated in copyright notice, TOS, or other reasonable means Creator if supplied and attribution parties if designated in reasonable manner
Copyright notices if supplied Copyright notices if supplied Copyright notices if supplied Copyright notice if supplied
Title if supplied Title if supplied Title if supplied N/A
Notices that refer to Public License and the disclaimer of warranties if supplied Notices that refer to Public License and the disclaimer of warranties if supplied Notices that refer to Public License and the disclaimer of warranties if supplied Notice that refers to Public License and notice that refers to the disclaimer of warranties if supplied
N/A To the extent practicable, URI licensor specifies to be associated with the work (but only if references copyright notice or licensing info) To the extent practicable, URI licensor specifies to be associated with the work (but only if references copyright notice or licensing info) To the extent practicable, URI or link to the material if supplied
If adaptation, credit indicating Work has been used If adaptation, credit indicating Work has been used If adaptation, credit indicating Work has been used and reasonable steps taken to identify that changes were made to the original Indicate if you modified the material; retain an indication of previous modifications
Text/URI for Public License Text/URI for Public License Text/URI for Public License Indicate the material is available under Public License and include text/URI/link
If collection or adaptation, remove reference to author and licensor upon request to the extent practicable If collection or adaptation, remove reference to author and licensor upon request to the extent practicable If collection or adaptation, remove reference to author and licensor upon request to the extent practicable Remove attribution information upon request to the extent reasonably practicable
Copyright notice, author, title, credit noting use of original in adaptation – all may be implemented in any reasonable manner, so long as at least as prominent as other authorship credit if an adaptation or collection Copyright notice, author, title, URI, credit noting use of original in adaptation – all may be implemented in any reasonable manner, so long as at least as prominent as other authorship credit if an adaptation or collection Author, title, URI, credit noting use of original in adaptation -- all reasonable to medium and means All reasonable to medium, means, and context
Features remaining unchanged
Definition of "NonCommercial"
Attribution required (but anonymity permitted)
Prohibition on effective technological measures by users of CC-licensed works
Exceptions and limitations unaffected
License effective for all copyrightable material
Notice of warranty disclaimers must be retained
No sublicensing
Synching creates adaptations
Licensing of collections
Licensing of BY and BY-NC adaptations
License Features
Nomenclature (for international licenses)
The 4.0 licenses are referred to as "international."
Version 3.0 licenses were referred to as "unported" licenses until 2010, at which point they were re-branded as the "international" licenses. At that point, CC added a global flag to the licenses and deeds and changed the reference in the Chooser (among other things). In the 1.0, 2.0, and 2.5 versions, the international licenses were called the "generic" licenses. The generic licenses were drafted to conform with U.S. copyright law.
Starting with version 3.0, Creative Commons drafted its core suite of licenses to conform to relevant international treaties and drafting conventions. In this sense, version 3.0 and the current 4.0 international license suites are jurisdiction-agnostic: these licenses do not mention and are not drafted against any particular jurisdiction's laws or statutes. They are intended to function without adjustment in all jurisdictions around the world.
Sui generis database rights
The 4.0 international suite licenses database rights along with copyright. Where the use of a database under a CC license implicates sui generis database rights, whether or not copyright is implicated, that use is subject to the terms and conditions of the license. If sui generis rights are not implicated—for example, if the use is in a jurisdiction where these rights do not exist, or if the database is not protected by the laws of a jurisdiction where such rights exist— such uses are not regulated by the license if copyright or neighboring rights do not apply. A few early (2.0, 2.5) European jurisdiction license ports also licensed database rights subject to the terms and conditions of the license.
In 3.0, the international (unported) license suite does not mention sui generis rights. However, ported 3.0 licenses for jurisdictions where those rights exist address them according to CC's 3.0 database rights policy. Under this policy, version 3.0 EU jurisdiction ports must license sui generis rights subject to the terms and conditions of the license just like copyright and neighboring rights, but also must waive license restrictions and conditions (attribution, ShareAlike, etc) for uses triggering database rights—so that if the use of a database published under a CC license implicated only database rights but not copyright, the CC license requirements and prohibitions would not apply to that use. The license conditions and restrictions, however, continue to apply to all uses triggering copyright. Other ports and the 3.0 international license are silent on sui generis database rights: databases and data are licensed (i.e., subject to restrictions detailed in the license) to the extent copyrightable, and if data in the database or the database itself are not copyrightable the license restrictions do not apply to those parts (though they still apply to the remainder). Thus, regardless of the CC 3.0 license at play (unported, an EU port, another port), uses that implicate only database rights will not trigger the license conditions, while uses that implicate copyright will.
Neither the international nor the ported licenses that address database rights export the sui generis rights to jurisdictions where such rights are not recognized (the ported licenses accomplish this as well through inclusion of a territoriality limitation). This avoids the imposition of restrictions based on sui generis rights via contract where those rights are not enforceable or recognized. You may compare how different jurisdictions implemented this section of the license.
Treatment of moral rights
In version 4.0, moral rights are waived to the limited extent necessary to exercise the licensed rights.
While the existence and extent of moral rights differ by jurisdiction, the most consistently present rights are those of attribution and integrity (the right to prevent or halt the prejudicial use of one's work by another). The 1.0, 2.0, and 2.5 licenses were drafted to conform to U.S. law, and because U.S. law recognizes moral rights in only very limited circumstances, the generic versions of those licenses suites do not address moral rights of authors.
The international licenses began to address moral rights in version 3.0. In version 4.0, moral rights are waived or not asserted to the extent possible under local law, to the limited extent they would otherwise interfere with exercise of the licensed rights. This avoids establishing moral rights through the license where they would not otherwise exist, but recognizes that there are jurisdictions where this limited waiver is not possible. The attribution requirements in Section 3 of the 4.0 licenses may satisfy many jurisdictions' right of attribution; however, they are a requirement of the license regardless of whether moral rights apply to a use.
In the 3.0 license suite, CC addressed moral rights in the international (unported) licenses. CC did not include a waiver of those rights in the international licenses. Instead, the licenses specifically instruct users that they "must not distort, mutilate, modify or take other derogatory action in relation to the Work which would be prejudicial to the Original Author's honor or reputation." The only exception is where the right to make adaptations would be considered prejudicial to the author's honor and reputation, in which case the licensor waives or agrees not to assert their moral right in order to allow adaptations to be made. The attribution requirement is designed in part to satisfy the right of attribution. In the porting process, some jurisdictions slightly adjusted this provision, with CC's permission, to specify that moral rights are waived to the extent necessary to effect the license to the degree a waiver is possible under applicable law. You may compare how different jurisdictions implemented this section of the license.
Trademark and patent explicitly not licensed
In the 4.0 licenses, trademark and patent rights are expressly mentioned as not among the rights licensed.
No CC license version licenses patent and trademark rights along with copyright. These rights are treated separately and are not covered by the license. In 4.0, this was made explicit to avoid confusion. However, in all license versions, implied licenses may come into play where these rights would interfere with exercise of the rights granted by the CC license.
Attribution and marking
Attribution reasonable to means, medium, and context
In 4.0, the manner of attribution is explicitly allowed to be reasonable to the means, medium, and context of how one shares a work.
In the 1.0, 2.0, 2.5, and 3.0 licenses, attribution may be reasonable to the medium or means, and applied to all elements other than certain notices where the requirement is firm. In 4.0, this explicit permission applies to the medium, means, and context of use. We believe this to be a clarification rather than a change: attribution reasonable to the means, medium, and context of use should be permissible for works under any CC license. Additionally, the pre-4.0 licenses specified that credit in adaptations and collections should be at least as prominent as credits for other authors; 4.0 is not specific in this regard.
Reasonableness applies to all attribution requirements
In 4.0, all attribution requirements may be fulfilled reasonable to the means, medium, and context of the use.
In earlier license versions, compliance reasonable to means and medium of use was not expressly permitted for all elements, as certain notices were excluded; however, in 4.0 these are included in the elements that may be fulfilled in a reasonable manner.
Credit to others explicit
In 4.0, proper attribution requires credit to designated others where supplied by the licensor.
In the 1.0 and 2.0 licenses, CC licenses contemplated crediting the author only. Versions 2.5 and 3.0 allow licensors to identify another party or organization for attribution (called an "Attribution Party" in these licenses). This feature was introduced in part to alleviate burdensome or difficult attribution situations, such as when many people contribute to a collaborative effort and agree to be credited as a collective body. In licenses with this feature, licensors may designate another party for attribution purposes—such as a sponsor institute, publishing entity or journal—in addition to or instead of the author. You may review some of the concerns raised when CC proposed this change.
Licensors may request removal of attribution
In the 4.0 licenses, a user must remove attribution from a work at the creator's request to the extent it is reasonably practicable to do so. This is true whether the work is modified or unmodified.
All license versions after version 1.0 require attribution. However, legislation in many countries gives authors the right to control the use of their name in association with their works. Therefore, CC licenses require licensees to remove attribution to the creator at his or her request, where it would otherwise be required to include it. In 2.0, 2.5, and 3.0, credit must be removed from adaptations and collections, to the extent practicable, at the creator's request. In 4.0, the creator may also request removal of credit from the unmodified work.
Title required
The title is not required for proper attribution in the 4.0 licenses. It is required in all earlier versions.
Beginning in version 1.0, one of the requirements for proper attribution was to include the title of the licensed work; this requirement was kept in versions 2.0, 2.5, and 3.0. In Version 4.0, this requirement was eliminated to increase flexibility and ease of compliance, particularly as many works do not have titles. Users are still encouraged to include titles where supplied.
URI required
For 4.0 licensed materials, a URI is required for proper attribution, if it is reasonably practicable to include.
The version 1.0 licenses contained no URI requirement. In version 2.0, CC introduced the requirement to retain a URI associated with a licensed work for proper attribution if it contains copyright notices or licensing information; this was kept through 2.5 and 3.0. In version 4.0, CC reconsidered this requirement. However, it was retained based on feedback from current and potential adopters that it is important for provenance, branding, and other reasons; a URI associated with the work is required as part of attribution if reasonably practicable to retain, regardless of whether it contains copyright notices or licensing information.
"No endorsement" clause included
In version 4.0, the license is clear that it should not be construed as giving permission to suggest the licensor endorses their use and similar.
In some jurisdictions, wrongfully implying that an author, publisher, or anyone else endorses a particular use of a work may be unlawful. Though not explicitly mentioned in the 1.0, 2.0, or 2.5 licenses, this has always been the case. The version 3.0 licenses contain an express no endorsement clause. In version 4.0, this clause is expressed as a limitation on the rights granted by the licensor.
Modifications and adaptations must be indicated
In the 4.0 license suite, licensees are required to indicate if they made modifications to the licensed material. This obligation applies whether or not the modifications produced adapted material. As with all other attribution and marking requirements, this may be done in a manner reasonable to the means, medium, and context. For example, "This section is an excerpt of the original." For trivial modifications, such as correcting spelling errors, it may be reasonable to omit the notice.
In the 3.0 suite, the obligation to indicate if modifications have been made applies if they result in the creation of an adaptation (when allowed by the license). Versions 1.0, 2.0, and 2.5 do not contain this requirement directly; however, the requirement in those licenses that the original work be credited if used in an adaptation (e.g., "French translation of the Work by Original Author") is some indication that the work has been modified. Even when not required, licensees are encouraged to indicate the material has been modified, and ideally (when reasonable) to describe or specify the changes made.
Representations and warranties from licensor included
In version 4.0, the licensor does not provide representations and warranties regarding the licensed content.
In the 1.0 license suite, the licensor extends warranties—for instance, that the work does not infringe the work of another. These warranties were eliminated in all subsequent license versions. Versions 2.0, 2.5, 3.0 and 4.0 explicitly offer the work "AS IS" and disclaim all liabilities to the extent allowable by law. In 4.0, an interpretation clause was added to help ensure that the disclaimer would be interpreted as intended given variations in local law. Of course, licensors may continue to offer warranties and specialized disclaimers separately from the license.
Some ports of 3.0 include warranties where they may not be disclaimed under local law. You may compare how different jurisdictions implemented this section of the license.
Licensor expressly waives rights to enforce, and grants permission to circumvent, technological protection measures
Version 4.0 includes an explicit waiver of, or agreement not to assert, any right licensor may otherwise have to enforce anti-circumvention of any effective technological measures applied to licensed material. CC licensors may apply such measures to their own licensed material, but the 4.0 licenses ensure that, to the extent possible, users are able to exercise the licensed rights when applied by or with the permission of the licensor. To reinforce this, the version 4.0 licenses also expressly grant permission to circumvent those measures.
It is always possible for a licensor to upload his or her own work to a platform that applies technological protection measures, even though the licensor chooses to use a CC license. The permission for a third-party platform to apply ETMs is separate from the CC license, and the CC license cannot restrict that additional permission because CC licenses are nonexclusive. In many jurisdictions, that third party may be able to enforce ETMs through civil or criminal anti-circumvention laws even though the licensor has waived or agreed not to assert any such right under the CC license. Licensees should make themselves aware of any legal limits on their ability to circumvent ETMs in advance of doing so.
In versions 1.0, 2.0, 2.5, and 3.0, the waiver of any right to enforce and the permission to circumvent are not express; however, this does not preclude any implied right to do so that may exist.
Automatic restoration of rights after termination if license violations corrected
In version 4.0, licensees may regain their rights to use licensed material after the license terminates by correcting a license violation within 30 days of discovering it.
In all license versions, a breach of the license terms results in automatic termination. Under versions 1.0, 2.0, 2.5, and 3.0, express permission from the licensor is required for licensees to regain their rights to use the work. In version 4.0, a new provision allows the rights to be automatically reinstated without express permission from the licensor, provided that the violation is corrected within 30 days of its discovery. This is similar to provisions in a handful of other public licenses.
In all versions, a licensor may of course reinstate permissions at any time.
Collecting societies regimes addressed
Under 4.0, licensors waive any right to collect royalties under collecting society schemes if they have chosen licenses permitting commercial uses. A licensor may collect royalties for commercial uses for works under the NonCommercial licenses.
Many users of Creative Commons licenses are members of collective rights societies like ASCAP, BMI, BUMA/STEMRA, and others that manage copyright on behalf of owners. Every license version from the 2.0 suite onward contains clauses that account for the existence of those arrangements. They provide, for instance, that for works offered under a NonCommercial license, the licensor retains the right to collect royalties for commercial uses of the work. The structure of the provisions in the 2.0 and 2.5 licenses differs from that in the version 3.0 and 4.0 licenses. The 2.x licenses specifically regulate music, sound recordings, and webcasting. As those licenses were ported to different jurisdictions, those provisions were adjusted to conform to the local collecting society situation.
The version 3.0 licenses and later employ a broad, harmonized strategy to collective rights societies. This strategy still allows jurisdictions to adopt an approach that best aligns with local law and society structure in the 3.0 licenses, but also ensures that the approach is implemented consistently across jurisdictions. In the international license, as regards compulsory royalty collection, the licensor reserves any right they have to collect those royalties in jurisdictions in which collection cannot be waived. In those jurisdictions in which compulsory royalty collection can be waived, the right to collect royalties is waived completely for those licenses that permit commercial use, and is reserved for commercial uses in those licenses that permit NonCommercial use only. For voluntary royalty schema, the licensor reserves the right to collect royalties for commercial uses in those licenses that permit NonCommercial use only, and waives the right to collect such royalties for licenses permitting commercial use. This clause covers both individual royalty collection and, in the event that the licensor is a member of a collecting society that collects such royalties, collection via such societies to the extent permitted by law. Some ports of the version 3.0 licenses include only those clauses that address the particular situation in the jurisdiction. Others have adopted all the language from the international license in hopes of international harmonization, or out of concern that their jurisdiction's regime may change. You may compare how different jurisdictions implemented this section of the license.
License-specific features
Compatibility mechanism in BY-SA licenses
Under the 4.0 licenses, licensees may use licenses designated by CC as compatible for their contributions to adapted material.
The ShareAlike licenses require that licensees make their contributions to adapted material available under the same terms and conditions, or, where the license allows, under a license designated by CC as compatible. The version 1.0 ShareAlike licenses require that adaptations be made under exactly the same license as applied to the original work. Starting with the release of the 2.x license suites, CC expanded compatibility by allowing contributions to adapted material to be created under the same or later version of the original license, including other ported versions of the same or later version of the license. The 3.0 Attribution-ShareAlike goes one step further, by allowing those contributions to be licensed under under a "Creative Commons Compatible License," defined to mean licenses approved by CC as essentially equivalent to the 3.0 Attribution-ShareAlike license.
To date, CC has not approved any other licenses as compatible. However, CC will develop a compatibility process shortly following launch of the 4.0 licenses, and begin evaluating other licenses. You can view the list of compatible licenses, and a post about the upcoming compatibility process. You may also want to review CC's statement of intent for the Attribution-ShareAlike licenses, and a draft statement that sets out further principles for the ShareAlike licenses.
Compatibility mechanism in BY-NC-SA licenses
In the 4.0 licenses, the same compatibility mechanism is present in the BY-NC-SA license as in BY-SA. Adapted material may be licensed under BY-NC-SA, version 4.0 or later, or any license CC has designated as compatible. To date, CC has not identified any other licenses as compatible; the process and criteria will be maintained on the compatibility page. There is no compatibility mechanism in the 1.0, 2.0, 2.5, or 3.0 versions of BY-NC-SA.
Adapted material usable under conditions of adapter's license
In version 4.0, CC added a provision in the ShareAlike licenses that enables downstream licensees to refer only to the adapter's license when using adapted material that contains the copyrightable contributions of multiple authors. This feature is designed to minimize complexity for reusers where they are using a later version of the ShareAlike license or a compatible license as their adapter's license. In 4.0, users need only refer to a single set of conditions contained in the last license applied to reuse adapted material, rather than parsing the conditions of the original and other adapter's licenses (to the extent the licenses differ).
In all cases, the licenses stack (the later license does not supplant all previously-applied licenses) when adapted material is created. In particular, the license originally applied to the material being remixed continues to apply once remixed, however permission is given in 4.0 for licensees to meet the conditions of the 4.0 license with reference to those in the adapter's license.
Prior to the 4.0 versioning process, CC had not always been clear that the ShareAlike licenses stacked just as they stack for the BY and BY-NC licenses, and reasonable minds do differ on this point. CC believes, however, that this is the best reading of its all of its licenses that permit adaptations prior to 4.0 and, now, has made that explicit in version 4.0.
Adaptations of NoDerivatives material permitted when not shared
In Version 4.0, licensees are granted permission to create adaptations of material licensed under one of the NoDerivatives licenses, but not permission to share the adaptations publicly.
In general, private personal use does not require the permission of the licensor and, therefore, does not require that the conditions of the CC license be followed. In 4.0, NoDerivatives is a partial rather than an absolute limitation on the rights granted. It does not restrict the production of adaptations (an exclusive right of creators under copyright), but it does prohibit the public sharing of those adaptations (also an exclusive right of creators under copyright). This change enables private activities that may result in the creation of adaptations whether intentionally or unintentionally, such as adaptations made in the course or as a result of text and data mining.
The creation of adaptations in connection with those and other activities are not permitted under the 3.0 and earlier versions absent an applicable exception or limitation.
Features remaining unchanged across license versions
Attribution required
All of the CC licenses require attribution where "BY" is a license element, which is all but five of the eleven version 1.0 licenses.The required mode of attribution differs slightly among the versions, and is progressively more flexible with each version. The version 1.0 suite is unique because it contains five CC licenses that do not require attribution. All subsequent license suites make attribution a standard requirement, though the licensor may request removal in certain circumstances. It is also possible under all license versions for a licensor to release works anonymously, and to waive the requirement by not providing authorship information. Where an element of attribution information is not provided by the licensor, the licensee is not required to provide it.
While the Creative Commons licenses have evolved over time, the scope of permitted uses under the NonCommercial licenses has remained unchanged across all license suites. (In 4.0, there was a small adjustment to the wording of the definition which was not intended to change its scope.) The NonCommercial clause prohibits the exercise of rights granted under the NonCommercial licenses "in any manner that is primarily intended for or directed toward commercial advantage or monetary compensation." In 2008, Creative Commons conducted a study on the meaning of NonCommercial in the online environment.
During the 4.0 process, CC took another look at the role of these licenses in general as well as the NonCommercial definition, and considered a name change to "Commercial Rights Reserved". The ultimate decision was to leave unchanged the license name and definition.
Application of effective technological measures by users of CC-licensed works prohibited
All CC license versions prohibit licensees (as opposed to licensors) from using effective technological measures such as "digital rights management" software to restrict the ability of those who receive a CC-licensed work to exercise rights granted under the license. To be clear, encryption or an access limitation is not necessarily a technical protection measure prohibited by the licenses. For example, content sent via email and encrypted with the recipient's public key does not restrict use of the work by the recipient. Likewise, limiting recipients to a set of users (e.g., with a username and password) does not restrict use of the work by the recipients. In the cases above, encryption or an access limitation does not violate the prohibition on technological measures because the recipient is not prevented from exercising all rights granted by the license (including rights of further redistribution).
This treatment was re-evaluated during the public process leading to release of the version 3.0 license suite. CC considered arguments in favor of such measures, coupled with an obligation of parallel distribution; these arguments were also reconsidered during the 4.0 process. However, in both versioning processes, those arguments were ultimately rejected.
Note that in 4.0, CC introduced a definition of Effective Technological Measures. This definition is not intended to change the scope of what is and is not allowed, but instead provide long-needed clarification over the scope of the prohibition.
All CC licenses only govern uses that would otherwise be restricted by copyright and other closely related rights as provided in the licenses. If a use is not regulated by virtue of an applicable exception or limitation, the license does not apply and there is no need to follow the license conditions. The licenses do not create obligations where they would not otherwise exist.
Effective for all copyrightable material
All Creative Commons license versions may be used with all copyrightable works (though CC recommends against using its licenses for computer software). Such works include compilations of data that exhibit the requisite level of creativity for copyright protection under applicable law. Thus, to the extent compilations of data are protected by copyright, Creative Commons licenses are suitable licenses for granting permission to exercise that right. For the avoidance of doubt, version 3.0 and 4.0 licenses explicitly identify compilations as material that may be licensed.
Note that sui generis database rights (existing separately from any copyright) are not explicitly licensed in the international suite until version 4.0.
The CC licenses all require users to retain notices of disclaimers of warranties if supplied with the licensed material. Customized disclaimers never form part of the Creative Commons license, but may be offered.
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"Women and Money" – Ugliest man on earth who went viral for marrying a second wife has married a third wife
By Godsway Charles Tudi On Sep 1, 2021
The name Godfrey Baguma, "Sebabi", is well known in Africa. The man is a successful singer and comedian, but his appearance is unusual. He was born with a rare disease that caused several malformations in his head and face.
He thought he was destined to have a sad life full of loneliness, but then he decided to accept his reality and entered a contest that was looking to find the ugliest man in the world. He won it, and after that, his life changed completely.
Godfrey Baguma aka Ssebaby, 53, won the title of ugliest man on Earth. However, this hasn't stopped him living a full and happy life. He married twice and has 8 children. He also sings and stars in music videos.
In 2002, then 47-year-old Godfrey won the ugliest man title after he entered the competition to make money for his family. He has managed to maintain his crown for the past 18 years due to his extremely unique facial features.
The 52-year-old man used to be a cobbler and he suffers from a very rare medical condition that has been featured before in TV series. He earned his nick name 'Ssebabi' after winning in the ugliest man contest.
Before his marriage to Kate, Godfrey had two children with his first wife, but their marriage came to an end when he caught her cheating.
His second wife said she's ready to bear him more children. Godfrey Baguma, the current holder of the most ugliest man in Uganda. Godfrey is married to 3 wives and has 8 children.
He says most of the women he had affairs with in the past have ran away from him because of his ugly looks.
After winning the competition of the most ugliest man in Uganda, Godfrey says all the women who ran away from him in the past are claiming to be in love with him again.
"Deadline day drama" – Griezmann returns to Atletico Madrid, Saul Move to Chelsea and Barcelona Secure Luuk de Jon deal
Stonebwoy postpone UK again, his reason will shock you

redpajama_set_name: RedPajamaCommonCrawl


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May 21 – June 27, 2021
You are here: Home1 / Shows2 / May 21 – June 27, 2021
Click to purchase tickets
May 21 @ 7:30 pm - 10:00 pm$16 – $20 - Lyceum Theater
May 22 @ 2:00 pm - 4:30 pm$16 – $20 - Lyceum Theater
This smash Off-Broadway musical comedy by Roger Bean takes you to the 1958 Springfield High School prom, where we meet four girls with hopes and dreams as big as their crinoline skirts! As we learn about their lives and loves, the girls serenade us with classic '50s hits including "Lollipop," "Dream Lover," "Stupid Cupid," and "Lipstick on Your Collar." In Act II, the Wonderettes reunite to take the stage and perform at their ten-year reunion. Featuring over 30 classic '50s and '60s hits, The Marvelous Wonderettes will keep you smiling in this must-take musical trip down memory lane!
Suitable for ages six and older
All performances are held at the Vanguard Lyceum Theater on the Ed and Dixie Arnold stage.
The Lyceum Theater is located on the campus of Vanguard University. For turn-by-turn directions to the correct parking lot, use Google Maps and enter your destination as "Lyceum Theater Costa Mesa". This will direct you to the correct parking lot off of Newport Blvd.
Click here for box office information
Performs May 21 – June 27, 2021
Fridays and Saturdays at 7:30 PM
Saturdays and Sundays at 2:00 PM
Tickets on sale September 1, 2020.
For a complete list of showtimes and available seating, please visit actctickets.com
General: $20
Seniors: $18
Groups (10+): $16
All prices reflect included service charge.
Gwendolyn Année is a recent graduate of the Vanguard University Theatre Department. She is so excited to be performing with the professional arm of the Lyceum Theater, American Coast Theater Company. Previous credits on the Ed & Dixie Arnold Stage include 9 to 5 (Roz), All Shook Up (Lorraine), and The 25th Annual Putnam County Spelling Bee (Rona Lisa Perretti).
Natasha Reese is excited to return to ACTC. She was previously seen on the Ed and Dixie Arnold Stage in ACTC's Christmas Cabaret and the Summer 2019 production of The Beat Goes On. Some of her other credits include the Witch ( Into the Woods), Gary Coleman (Avenue Q), Joanne (RENT),Lula Buffington (Violet) and Mother Wolf (The Jungle Book). Natasha would like to thank her family and friends for all their love and support.
Annabella Joy is an actress, singer, dancer, and teaching artist. A graduate of The Boston Conservatory, she received her BFA in Musical Theatre with an emphasis in classical acting and dance. She has worked with a variety of companies including Theatre By the Sea in Matunuck, RI and American Repertory Theater in Boston, MA. She currently resides in Bozeman, MT where she practices theatre and teaches voice and acting to her students at The Ellen Theatre's TATE Academy. This year Annabella became a founding member of Nervous Theatre – a rootless theatrical collective dedicated to producing and touring new works and radically re-imagined classics. The touring repertory company grew out of the Boston Conservatory where its founding members met. Outside of her theatrical career, Annabella also enjoys songwriting and visual arts: painting, drawing, and collage work.
Alli Gainer is so thrilled to perform with ACTC and be part of this incredible show. She would like to thank her friends and family for all of the support and love. Some of Alli's favorite roles include Doralee in 9 to 5, Belle in Beauty and the Beast and Esmeralda in The Hunchback of Notre Dame. She hopes you enjoy the show!
All 2 /SHOWS 2
December 10 - 22, 2020
December 10 – 22, 2020


The scene. A lone man or woman. Perhaps a poet. A writer. A romantic notion, no? In the end, every writer and human is profoundly alone. Writers definitely need time alone. But like all warm-blooded mammals; we also need a sense of community. So when I got a letter from Cambridge poet Douglas Worth, about his experiences with the cliquishness of the poetry community, and his feelings of isolation; I decided to speak to my good friend and poetry powerbroker Harris Gardner. We had been meeting for breakfast for awhile at the "Au Bon Pain" in Harvard Square. I called Harris with my idea for a group titled: "Breaking Bagels with the Bards," and like a moth on a cheap suit he was on the bandwagon. We decided to form a casual group of writers and poets that would meet in the basement of a Harvard Square bagel joint "Finagle-a-Bagel." Harris supplied a steady stream of emails, and both of us spread the word with our colleagues and friends. It was slow going at first. But over the months the group started to grow. One member, Irene Koronas, an experimental poet who has a healthy obsession with words, became an official scribe, and sent her "Word catcher," email newsletter out to all members. Steve Glines, a writer, and a computer whiz, was instrumental in creating our online magazine "The Wilderness House Literary Review" http://www.whlreview.com , and our first "Bagel Bard" anthology. The group became populated with folks like Simmons College professor Afaa Michael Weaver, Boston University professor Tino Villanueva, MIT professor John Hildebidle, not to mention poets Tomas O'Leary, Molly Lynn Watt, Ann Cahart, Julia Carlson, Deborah M. Priestly, Linda Haviland Conte, Pam Rosenblatt, Matt Rosenthal, Mike Adamo, Marc Goldfinger, Richard Wihelm, Chad Parenteau, Pat Brodie, Philip Burnham, Tom Daley, Reggie Gibson, David Slavitt, Richard Wollman, to name just a few. Ellen Steinbaum, a Boston Globe columnist, and a member of our group wrote a column about us, and there were articles about the group in the "Cambridge Chronicle," and "The Somerville News." Several publishers joined our organization: Gloria Mindock of the "Cervena Barva press," Jasen Sousa of "J-Rock Publishing," and Shirley Gerald ware of "Fresh," magazine.
Since founding the group many of our members have gone on to publish through people they met in the group and more than a few have gotten reading gigs. A number of the "Bards" read at the grand reopening of the "Grolier Poetry Book Shop," a grand day indeed!
"Bagel Bards" meets every Saturday at the "Au Bon Pain" in Davis Square, Somerville. All invited.


Home | Archives | Shop The Stone Rose Father's Day Sale Right Now!
Shop The Stone Rose Father's Day Sale Right Now!
Father's Day is fast approaching and this means it's time for you to start panicking about what you are going to get your dad for the special day. Or at least this has been the case until now, the year you started shopping at Stone Rose for gifts for your dad. However, just because you know where you are going to find the perfect gift, doesn't mean you know which item in that store is going to be right for your dad. In this post, you can find an item that fits your dad's unique personality, while also ensuring that you are giving him something that he is going to love. Keep reading to uncover some of our most promising Father's Day gifts.
If your dad is always heading to the office to get things done, why not get him a gift that is both practical and that will make him think of you every time he looks in a mirror? If your dad works in a pretty professional space, we would suggest that you purchase one of our more professional pieces like the Men's Black Geometric Knit Long Sleeve Shirt. Simple and classic, this black and grey shirt will pair perfectly with a pair of slacks and a blazer. Alternatively, this button-up is also a great counterpart to a nice fitted pair of jeans if your dad is heading to a more casual affair.
Everyone is completely familiar with what dad jokes are these days, and if you have a dad who is a total goof, you probably are even more familiar than others. When it comes to men with a great sense of humor, there is a stigma that they can't also be well-dressed. We beg to differ. Your funny man can both make people laugh and look good doing it. One of our favorite pieces this season is our Blue Monkey Print Short Sleeve Shirt. This is perfect for a dad who is known to get into some monkey business of his own.
If your dad is well known for always being ready to step in and offer a helping hand to anyone who needs it, it's time to show him a bit of what it's like to be spoiled. We would recommend purchasing our Navy Check Knit Long Sleeve Shirt and taking the man who raised you out for a nice dinner. Not only will he enjoy that you are treating him, but he will feel great wearing his new shirt as all those who love him most surround him.
For some dads, the idea of developing a "dad bod" is completely out of the question. This means they spend a good amount of time hitting the gym to ensure they are continuing to stay in shape. If this sounds like your dad, you probably want to get him something he will use but that also isn't workout clothing. No need to worry, the new T-Series Collection at Stone Rose is made for people who are on the move but who also want to look nice as they do so. With odor-blocking, anti-wrinkle technology, you're sure to find a shirt that your dad can throw on after an intense workout without any issues at all.
If your dad is the creative type, you probably don't want to get him something that seems too stuffy or just plain out of character for him to wear. However, there is always a tried and true method of buying clothing as gifts for any type of man that is sure to work. This method is to keep your choice simple. Something like our Blue Diamond Jacquard Knit Polo is sure to be a hit with any father out there. Trust us, your dad is sure to be a fan of this work of art.
Trust us, if you really want to show your dad what he means to you on Father's Day this year, Stone Rose is a great place to start. We have anything and everything that a fashionable modern man needs to look great and feel confident. Start shopping Father's Day gifts right now.


Support the capacity of all partners to access and publish data.
Since June 2017, the number of Grand Bargain signatories that are publishing open data on their humanitarian financing and providing much more useful and usable data on their activities has significantly increased.
The IATI Standard has been further enhanced to enable Grand Bargain signatories to publish the data they need to be able to track progress in these commitment areas. Released in February 2018, version 2.03 enables signatories (and other IATI publishers) to provide even more granular reporting on humanitarian funding, for example by showing levels of earmarking, pledges, cash-based programming4 and whether funding is channeled via local and national responders.
A joint work plan has been developed between the Centre, FTS, Development Initiatives and the IATI Secretariat to pilot the automatic import of IATI data into FTS and ensure complementarity between the two systems, reducing gaps in information reported to FTS and lowering the reporting burden on donors and aid organisations.
Other key developments at the workstream level include the creation of a Humanitarian Data Centre in The Hague, by OCHA and the Netherlands, to provide data services to humanitarian actors, including supporting the adoption of standards such as IATI.
The progress by Grand Bargain signatories in publishing their humanitarian data to IATI is encouraging and many organisations who have improved their IATI reporting over the last year have commented positively on its potential benefits – such as improving organisational performance, efficiency, opportunities for collaboration, evidence-based decision-making, accountability and transparency. However, the process of publishing to IATI for the first time can appear daunting to both large and small organisations – and this may limit further progress.
The next phase of for the Transparency works stream will be to ensure that published data is relevant and accessible to potential users and that the GB signatories, as well as the wider humanitarian community, are supported in using IATI data. This will only be feasible with a greater collective understating of how data can or might support key processes within humanitarian response.
Humanitarian organisations interested in publishing data to IATI can contact Development Initiatives and support@iatistandard.org to get further information on the overall process.


Life for Palestinian youth living in the Gaza Strip, under siege and occupation, is intricate and layered in so many ways. Under the suffocating system of violence and cruel politics, its nuances are rarely captured by global media. While a geopolitical struggle rages on, the people of Palestine live their lives, create beautiful things, and have stories to tell. For some, the sea is a constant source of inspiration and escapism. Others master the Dabka, a traditional Palestinian dance, a physical reflection of intense joy on happy occasions. Many young Palestinians are pushing the boundaries of their art in a city, so bombarded by war and chaos, living with no electricity or running water, that makes it near impossible to market themselves to the outside world.
Reportage of the endless human rights abuses happening under Israeli occupation is vital to ensure the world understands the Palestinian's battle for freedom. What seems to be lacking though, is the light shining on the young, creative Palestinian voices, widely oppressed by political stigmatisation and threats to their lives. In a bid to explore Palestinian youth culture, and to give young Palestinians a platform to shout and be heard, Dazed has teamed up with local photography collective Activestills to produce a portrait series of Palestinian young people on the Gaza strip.
Since 2005, Activestills have been on the frontline of the Palestinian struggle, lensing everything from the bodies of activists to the anguished cries of its refugees, making their work an important marker for photography as a vehicle for social and political change, as well as a snapshot of a ravaging moment in our times. Here, Activestills photographer Mohammed Zaanoun casts an eye on Palestine's youth culture, asking about their hopes and dreams, in a bid to add textured, intimate details to the conversation around young Palestine.
Below, we hear from 10 young Palestinians about what inspires them, what drives their craft, and what they hope for their future.
"For my own music, I see Adele, Eminem, Tupac, and Sia as inspirations. They fight and sacrifice for their ideas in order to convince the world to accept their music. I wish to be an artist that helps developing art around the world, in Palestine particularly. I hope that someday I will be able to produce my first album with my band. I tried many times to do that, but I faced many obstacles such as lack of technical space to market my album. I hope to find a technical and cultural platform to embrace my ambition to show it to the outside world. I wish to collaborate with artists from all over the world. Singing together and making art is our way of developing as human beings.
"I come from a poor family from the Shuja'iya neighbourhood, east of Gaza City. I do not have the right to an education because of the terrible living conditions and the fact that my father cannot afford to pay for my studies. The political situation in Palestine shows that the world stands on the side of the oppressor, which hurts me a lot because I know that we are the rightful owners of this land. I think it is a beautiful thing that Lana Del Rey stood with the Palestinian people, I see this as an act of solidarity with our just cause. All of the people in the world must end their silence and speak truth to power on behalf of the Palestinian people.


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A conversation with our Task Force Climate Action Leads
Climate Action is a current hot topic, with the United States back in the Paris Agreement and COP26 going ahead in November, it is no wonder that the FinBiz2030 Task Forces have chosen to incorporate Climate Action into their workstreams.
In celebration of World Earth Day on April 22nd, this article features two Climate Action workstream leaders, who are at different points in their FinBiz2030 journey. We ask them about the impact of their work so far, how they see their workstream progressing through 2021 and how you can incorporate small steps to make a difference.
Kim Brink
South Africa Task Force, Climate Action workstream leader
I am a Business Analyst in the Digital division of Investec Bank, specifically for the Cryptocurrency and Life products. In 2019-2020 I was an ambassador for Investec for the United Nations Young SDG Innovators Programme (YSIP) – finding viable business solutions with sustainability at its core.
Fiona Smiddy
Ireland Task Force, Climate Action workstream co-leader
My name is Fiona Smiddy, I'm a Chartered Accountant and the Founder and CEO of Green Outlook. At Green Outlook we are passionate about supporting local, sustainable, natural and plastic free alternatives. We sell a curated range of personal hygiene and household products to help people reduce their environmental impact.
How and why did you get involved in FinBiz2030?
Kim: My sustainability journey started when I was elected to represent Investec in the United Nations Global Compact's Young Sustainability Innovators Project. Investec hosted South Africa's first FinBiz2030 conference at the head office in Grayston. It was immediately clear that present at the event were a group that, together, would be powerful in creating a strategy for sustainability innovation and development.
Fiona: I was invited to join the Irish Taskforce by Michael Walls and Sinead Fox-Hamilton. We had met previously through events with Chartered Accountants Ireland (CAI) and they knew that I was a big advocate for the SDGs. After attending the introductory session and meeting some of the attendees I jumped at the chance to get further involved. We have a diverse group, bringing different passions with one goal in mind, a better world for all.
Can you describe your work/ workstream?
Kim: Our team has been committed to both direct and indirect climate action.
Directly: we are investigating the idea of an actual carbon offsetting plant in South Africa, and how we might be able to make tangible difference in our communities that are affected most.
Moreover, we are working with a number of partners on knowledge-sharing for people in their individual and professional capacities. The aim is to make information readily available, in ways that are engaging, easily understood, and relatable to people's contexts.
Fiona: I am co-lead of the Climate Action workstream. Our workstream is focused on creating awareness of the importance of SDG 13 Climate Action. We want to educate and empower finance and business professionals to take ownership of the climate crisis in their role from trainee to C suite. We would love to see more proactive work on Climate Action within the Finance and Business community.
What has been the impact of your work in Climate Action to date?
Kim: The team has been incredibly committed to researching the different avenues and partnering with corporations on successful solutions. We created a Change.Org campaign, calling to action South Africa's Minister of Finance and National Treasury to build back a resilient, sustainable nation prior to the annual budget speech.
The SDG 13 team has also partnered with SustainableSA, creating videos, podcasts and articles for knowledge sharing on Climate Action, which are available to the public, but specifically SAICA's members.
Fiona: We have just started working together as a group but everyone has a story of their own. Aileen is completing a masters in sustainability, Martin is driving sustainability from his Internal Audit role in pharma, Derek is leading his Finance team through a company carbon calculation and offset programme. Others are trying to get green initiatives off the ground in their workplaces. Personally, I support the customers of Green Outlook to look at what they can do better in their homes.
What achievements do you hope to see in 2021? What are your aims for the future?
Kim: Over the last year the team has grown from strength to strength. We have gained so much information that even we were not familiar with! The team's mind-set is exactly where it should be: we will never know "enough" – we are, and will continue learning.
There is a balance that has to be achieved between our 'quick wins' and long term projects. It's important to go back to the drawing board and ensure that we are keeping up to speed with our goals, but agile enough to adapt to new findings.
Fiona: We have shared some brilliant brain storming sessions to date. We really want to create a tangible offering that will spark a flame in those who may not have heard of the SDGS or be that extra fuel for those already championing SDG 13 Climate Action. We need to get hot on this topic if we are going to cool the planet down.
We are playing around with some different ideas about ebooks, seminars or online training programmes in the area of Climate Action. We are also very keen to put structures in place to measure our impact.
Are there any obstacles that you have had to or will have to overcome?
Kim: Absolutely! We are all working professionals that need to prioritise our 9 – 5. Everyone's schedules are entirely different. However, this was something that the team has been transparent about. Additionally, while Covid-19 had impacted a lot of what we had expected to take place, it has made the team more agile in our approach to our tasks and projects.
Fiona: We're at the early stages of our project, having only started up in the last month, but with our contacts and the support of OYW, CAW and CAI we plan to make real change.
What role would you like to see current and future leaders take in driving forward change on the UN SDGs?
Kim: It must be noted that focussing on one SDG in isolation would not be an effective way to address change. Our achievements require full commitment to sustainability at large: the intersectionalities are where real innovation lies.
Leaders must drive the message that sustainability is in the best interest of everyone. It is a mind-set shift that both requires and cultivates creativity, wellbeing, success and resilience. Without having a sustainability mind-set, those aspects cannot be fully achieved.
Fiona: We need to think global, act local, plan for the long term and implement today. Leaders in Government and business have a responsibility to take positive action today. The world will be a much better place for all, if leaders look to the UN SDGs as a guide.
How can others take tangible actions and make a small difference?
Kim: Focus on what is in your power today. This might seem like a non-event, but once that is achieved, you will notice how rewarding it is to do so, and learning more becomes easy.
And in doing so, remember that in acting together we are stronger than the sum of our parts.
Fiona: I always say we have so much power in our pocket. We have a wealth of information in our phones and as consumers our purchasing habits are impactful. Buy less and buy better. Support the businesses and companies whose values align with your own. You can start to have an impact today, we need progress over perfection to meet the SDGs.