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The Glass Slipper Garter A.K.A. the Cinderella Wedding Garter
By Sarah Dobson
She's finally here. Our newest limited-edition, The Cinderella Garter, has finally landed. I cannot put into words how much this garter means to me personally. It has been incubating in my imagination for over three years, but we didn't take the first steps towards bringing it to fruition until October of 2019. Since then, it has been ALL I have worked on when I am not working on fulfilling client orders. This design took an interesting twist about one month ago: we released photos of it on Cyber Monday and then realized that it still wasn't quite as Cinderella as it could be. So, we retracted the photos, brought it back to the drawing board, and re-designed it once again. Believe me when I tell you that blood, sweat, and tears have gone into the creation of this design. It is with a momma proud heart that I say IT IS FINALLY HERE AND IT IS HAS FINALLY REACHED IT'S FULL POTENTIAL.
This garter was designed for the bride who absolutely adores Cinderella.
Every detail of this garter was inspired by the bride who adores animals and is well-known for her compassionate nature. More likely than not, this bride is not a very loud person. In fact, she might be one of the quietest people at a party, but she is known for carrying herself with a grace that is unparalleled. Anyone who knows this bride is well aware of the fact that she believes deeply in acts of service, whether it be volunteering to help abandoned animals or assisting the elderly who have become too old to be able to care for themselves anymore. With love and a strong sense of humanity in mind, we created this garter for the bride who is highly in tune with the needs of the people in just about any environment that she finds herself in. We repeat: She is a person who cannot help but LOVING other living things - no matter what their size, shape, color, or origin.
From her everyday outfits to the quality of her eye contact, everything she does exudes humility. Those who are not wise interpret her kindness for weakness, however those who know better can see that this is not the case. To put it simply, foolish people feel sorry for her and the wise admire her. But make no mistake about it, the Glass Slipper bride is not weak. On the contrary, she views kindness as strength and carries a strong conviction that kindness + courage are the two of the most important things in the world.
It is very possible that this bride has suffered abuse or neglect from her family. But do you know what else is possible? That she endured this suffering, learned from it, and through her incredible resilience became an even better person. More likely than not, she will be saying "I Do" surrounded by only those whom she truly trusts.
Please note: if you are a person who does not like animal or who someone who strongly believes in the power of revenge, then this garter is not for you.
This front of this garter is made using a beautiful mixture of sparkling iridescent, clear, and blue opal rhinestones. At the center of the design is one crystal tiara pendant with silver-set detailing. If you look at the back side, you will notice that the outside is made of a glistening, Cinderella blue organza fabric, reminiscent of Cinderella's iconic blue ballgown. For a touch of sparkle, you will see that hand-placed twenty sparkling swarovski rhinestones along the back band. Our favorite part? The inside of the band is embroidered with the phrase "Have Courage and Be Strong" in the same signature Cinderella Blue that the back band features. Please note: this is a limited-edition design. We currently have only 18 of these in stock. (as of January 10th, 2020)
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.In stdlib.h int cgetent "char **buf" "char **db_array" "char *name" int cgetset "char *ent" int cgetmatch "char *buf" "char *name" char * cgetcap "char *buf" "char *cap" "int type" int cgetnum "char *buf" "char *cap" "long *num" int cgetstr "char *buf" "char *cap" "char **str" int cgetustr "char *buf" "char *cap" "char **str" int cgetfirst "char **buf" "char **db_array" int cgetnext "char **buf" "char **db_array" int cgetclose "void"
The cgetent function extracts the capability name from the database specified by the NULL terminated file array db_array and returns a pointer to a malloc 3 'd copy of it in buf. The cgetent function will first look for files ending in .db (see cap_mkdb(1)) before accessing the ASCII file. The buf argument must be retained through all subsequent calls to cgetmatch, cgetcap, cgetnum, cgetstr, and cgetustr, but may then be free 3 'd. On success 0 is returned, 1 if the returned record contains an unresolved tc expansion, -1 if the requested record could not be found, -2 if a system error was encountered (could not open/read a file, etc.) also setting errno, and -3 if a potential reference loop is detected (see tc= comments below).
The cgetset function enables the addition of a character buffer containing a single capability record entry to the capability database. Conceptually, the entry is added as the first ''file'' in the database, and is therefore searched first on the call to cgetent. The entry is passed in ent. If ent is NULL, the current entry is removed from the database. A call to cgetset must precede the database traversal. It must be called before the cgetent call. If a sequential access is being performed (see below), it must be called before the first sequential access call ( cgetfirst or cgetnext), or be directly preceded by a cgetclose call. On success 0 is returned and -1 on failure.
The cgetmatch function will return 0 if name is one of the names of the capability record buf, -1 if not.
The cgetcap function searches the capability record buf for the capability cap with type type. A type is specified using any single character. If a colon (':') is used, an untyped capability will be searched for (see below for explanation of types). A pointer to the value of cap in buf is returned on success, NULL if the requested capability could not be found. The end of the capability value is signaled by a ':' or ASCII NUL (see below for capability database syntax).
The cgetnum function retrieves the value of the numeric capability cap from the capability record pointed to by buf. The numeric value is returned in the long pointed to by num. 0 is returned on success, -1 if the requested numeric capability could not be found.
The cgetstr function retrieves the value of the string capability cap from the capability record pointed to by buf. A pointer to a decoded, NUL terminated, malloc 3 'd copy of the string is returned in the char * pointed to by str. The number of characters in the decoded string not including the trailing NUL is returned on success, -1 if the requested string capability could not be found, -2 if a system error was encountered (storage allocation failure).
The cgetustr function is identical to cgetstr except that it does not expand special characters, but rather returns each character of the capability string literally.
The cgetfirst and cgetnext functions comprise a function group that provides for sequential access of the NULL pointer terminated array of file names, db_array. The cgetfirst function returns the first record in the database and resets the access to the first record. The cgetnext function returns the next record in the database with respect to the record returned by the previous cgetfirst or cgetnext call. If there is no such previous call, the first record in the database is returned. Each record is returned in a malloc 3 'd copy pointed to by buf. Tc expansion is done (see tc= comments below). Upon completion of the database 0 is returned, 1 is returned upon successful return of record with possibly more remaining (we have not reached the end of the database yet), 2 is returned if the record contains an unresolved tc expansion, -1 is returned if a system error occurred, and -2 is returned if a potential reference loop is detected (see tc= comments below). Upon completion of database (0 return) the database is closed.
The cgetclose function closes the sequential access and frees any memory and file descriptors being used. Note that it does not erase the buffer pushed by a call to cgetset.
Capability databases are normally ASCII and may be edited with standard text editors. Blank lines and lines beginning with a '#' are comments and are ignored. Lines ending with a '\' indicate that the next line is a continuation of the current line; the '\' and following newline are ignored. Long lines are usually continued onto several physical lines by ending each line except the last with a '\'.
Capability databases consist of a series of records, one per logical line. Each record contains a variable number of ':'-separated fields (capabilities). Empty fields consisting entirely of white space characters (spaces and tabs) are ignored.
name "typeless [boolean] capability" name "is present [true]"
Names consist of one or more characters. Names may contain any character except ':', but it is usually best to restrict them to the printable characters and avoid use of graphics like '#', '=', '%', '@', etc. Types are single characters used to separate capability names from their associated typed values. Types may be any character except a ':'. Typically, graphics like '#', '=', '%', etc. are used. Values may be any number of characters and may contain any character except ':'.
Capability records describe a set of (name, value) bindings. Names may have multiple values bound to them. Different values for a name are distinguished by their types. The cgetcap function will return a pointer to a value of a name given the capability name and the type of the value.
"(getcap(buf, name, ':') != NULL)"
These features combined with tc capabilities can be used to generate variations of other databases and records by either adding new capabilities, overriding definitions with new definitions, or hiding following definitions via '@' capabilities.
The capability foo has two values bound to it (bar of type '%' and blah of type '^') and any other value bindings are hidden. The capability abc also has two values bound but only a value of type '$' is prevented from being defined in the capability record more.
The records are extracted by calling cgetent with file1 preceding file2. In the capability record new in file1, fript=bar overrides the definition of fript=foo interpolated from the capability record old in file2, who-cares@ prevents the definition of any who-cares definitions in old from being seen, glork#200 is inherited from old, and blah and anything defined by the record extensions is added to those definitions in old. Note that the position of the fript=bar and who-cares@ definitions before tc=old is important here. If they were after, the definitions in old would take precedence.
name = string "string capability"
name #@ "the numeric capability"
name =@ "the string capability"
Numeric capability values may be given in one of three numeric bases. If the number starts with either '0x' or '0X' it is interpreted as a hexadecimal number (both upper and lower case a-f may be used to denote the extended hexadecimal digits). Otherwise, if the number starts with a '0' it is interpreted as an octal number. Otherwise the number is interpreted as a decimal number.
A '\' may be followed by up to three octal digits directly specifies the numeric code for a character. The use of ASCII NUL s, while easily encoded, causes all sorts of problems and must be used with care since NUL s are typically used to denote the end of strings; many applications use '\200' to represent a NUL.
The cgetent, cgetset, cgetmatch, cgetnum, cgetstr, cgetustr, cgetfirst, and cgetnext functions return a value greater than or equal to 0 on success and a value less than 0 on failure. The cgetcap function returns a character pointer on success and a NULL on failure.
The cgetent, and cgetseq functions may fail and set errno for any of the errors specified for the library functions: fopen(3), fclose(3), open(2), and close(2).


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Acapella" is a song by American music duo Karmin. It was released on July 9, by Epic Records as the lead single from their debut studio album, Pulses ( ). The single was written by group members Amy Heidemann and Nick Noonan, as well as Sam Hollander and Boys Like Girls frontman, Martin Johnson, who produced the single.
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Home › MidEast › When is a war not a war? Yemen!
When is a war not a war? Yemen!
Posted on March 29, 2012 by bcse
Editor's Note – When is a war not a war? Nine years of pounding Yemen apparently does not constitute a war. Whether it began as a by-product of the "War On Terror" or the renamed Obama version: "Overseas Contingency Operation", its still warfare. The armed forces of the USA and our covert CIA have been quite busy under the Obama watch.
How does this jive with the rhetoric prior to Obama taking the helm in 2009? Libya, Yemen, Pakistan, Afghanistan… but NOT Syria…? Assassinations, targeted drone strikes, heavy gunships, naval launches…
Arab spring brings steep rise in US attacks in Yemen
by Chris Woods and Emma Slater
Bureau of Investigative Journalism
Covert US strikes against alleged militants in Yemen have risen steeply during the Arab spring, and are currently at the same level as the CIA's controversial drone campaign in Pakistan, a new study by the Bureau reveals.
At least 26 US military and CIA strikes involving cruise missiles, aircraft, drones or naval bombardments have taken place in the volatile Gulf nation to date, killing hundreds of alleged militants linked to the regional al Qaeda franchise. But at least 54 civilians have died too, the study found.
In the latest attack, US drones struck three areas of the rebel-held city of Zinjibar on March 22, killing up to 30 al Qaeda-linked militants, according to Yemen intelligence officials. Naval vessels – possibly American – also bombarded the city.
The missile strike 'targeted vehicles and bases of the al Qaeda group. A lot of people were apparently killed and their vehicles were completely destroyed at the scene', eyewitnesses told news agency Xinhua.
At least five US attacks – some involving multiple targets – have so far taken place in Yemen this month alone, in support of a government offensive to drive militants from key locations. In comparison, Pakistan's tribal areas, the epicentre of the CIA's controversial drone war, have seen just three US drone strikes in March.
The recent surge in attacks appears linked to the appointment of the new president, Abed Rabbo Mansour Hadi. In his inauguration speech he called for 'the continuation of war against al-Qaida as a religious and national duty.'
Despite multiple confirmed reports of American military action in Yemen, the US rarely acknowledges its secret war. A State Department spokesperson, speaking on background terms, would this week say only: 'I refer you to the Government of Yemen for additional information on its counterterrorism efforts.'
Hundreds killed
A detailed examination of US military activity in Yemen over nine years reveals that most attacks – as many as 35 – have taken place after May 2011, as Arab spring-related protests gripped the country.
Total US attacks 26 – 44 (some multiple) with up to 34 since May 2011
Total killed 275 – 516
Civilians reported killed 54-104
All but one of the strikes have taken place under President Obama, who has taken a personal interest in the Yemen campaign. By the time he came to office al Qaeda in the Arabian Peninsula (AQAP) had grown to become, in his words, 'a network of violence and terror' that had attracted a number of US citizens to its cause, including radical cleric Anwar al-Awlaki.
AQAP even began publishing online propaganda magazines in English, and was behind a number of attempted terrorist attacks against the US, the UK and their allies.
With the CIA heavily engaged in Iraq and Pakistan, the job of crushing AQAP was handed to the Pentagon's elite Joint Special Operations Command (JSOC) – the same unit that had captured Saddam Hussein and would later kill Osama bin Laden.
But from the start, JSOC's operations were mired in controversy.
Acting on intelligence that an AQAP meeting was taking place in the southern Yemen desert on December 17 2009, JSOC launched at least one cruise missile loaded with cluster bombs at the gathering. A Yemen parliamentary commission later found that 14 alleged militants died in the attack. But so too did 44 civilians.
The massacre the United States won't admit or deny
A copy of the commission report obtained by the Bureau identifies by name all of the civilians killed, which include five pregnant women and 22 children, the youngest just a year old. Eight families were effectively wiped out, the commission found, although it did not attribute blame to either US or Yemen forces.
A secret massacre
Two years on, the US will neither confirm or deny whether any investigation into those deaths has taken place, or if any compensation has been paid to the families of victims. The Pentagon, Centcom, the State Department and US Senate Armed Services Committee all declined to comment on the matter this week.
A spokesman for Sheikh Himir Al-Ahmar, the commission's chairman and now Yemen's deputy speaker, told the Bureau: 'The families of the victims were indeed paid appropriate compensation by the Yemeni Government (according to the standard of compensations given out to victims in Yemen). The American authorities did not get involved in this process in any way.'
In contrast, affected families of a killing spree carried out by a US soldier in Afghanistan recently received $50,000 (£31,500) for each victim.
The US refusal to acknowledge the attack is undermined by a secret diplomatic cable released by WikiLeaks revealing that then-Centcom chief General David Petraeus – now director of the CIA – and Yemen's president and prime minister at the time, Ali Abdullah Saleh had sought to hide the US's role in the incident.
According to the secret cable, '[President] Saleh lamented the use of cruise missiles that are "not very accurate" and welcomed the use of aircraft-deployed precision-guided bombs instead. "We'll continue saying the bombs are ours, not yours," Saleh said, prompting Deputy Prime Minister Alimi to joke that he had just "lied" by telling Parliament that the bombs in Arhab, Abyan, and Shebwa were American-made but deployed by the ROYG.'
Amnesty International, which carried out its own investigation into the December 2009 attack, said this week that the US failure to investigate credible reports of civilian deaths was troubling.
'With an increase in such operations in places like Yemen, unless one gets to the bottom of who was killed, why, and what precautions were taken to protect civilians, then there is a risk such mistakes will be repeated in the future,' said Philip Luther, director of Amnesty's Middle East programme.
There have been other Pentagon errors too. When its elite Special Forces hit a supposed militant convoy in May 2010, they instead killed the region's popular deputy governor, Jaber al-Shabwani. That error led to a year-long pause in US attacks, after local tribes strongly protested.
It took the chaos of the Arab Spring to see the US return to the offensive. As Yemen's people revolted against President Saleh and his cronies, JSOC and CIA drones took to the skies, supplemented by US naval and air assets. President Obama has been fighting an almost unreported war in Yemen ever since.
Yemen's ramshackle air force
At least 20 US strikes have taken place in Yemen since May 2011, the Bureau understands. The actual number may be as high as 34. But reports are often confused, with the US and Yemen governments unwilling to clarify events.
There are also claims that the Yemen Air Force carries out some precision strikes. Yet an investigation of its capabilities reveals it to be a ramshackle, low-tech outfit, wracked by the recent political unrest.
'Barely functional' – why US is likely to be behind Yemen's precision strikes
Alan Warnes, chief correspondent at defence publication AirForces Monthly, says Yemen's air force is incapable of precision or night-time attacks: 'The only aircraft they have capable of night flying would be quite antiquated fighters. I think it's the Americans who are doing it rather than the Yemenis.'
Recent close co-operation between the CIA and JSOC does appear to be paying off. Some two dozen named Al Qaeda militants and their associates have died since last spring, with the group under almost constant attack. Civilian deaths are also now reportedly rare – although there have been further errors.
Obama's greatest success in Yemen came on September 30 last year, when two US citizens were among four high-value militants killed. Anwar al Awlaki, the radical preacher, died with Samir Khan, editor of AQAP's English-language propaganda magazine Inspire.
Days later a follow-up attack killed other militants – but also Awlaki's 16-year-old son and 17-year-old nephew. AQAP's ability to speak to an English-language audience was apparently destroyed, possibly terminally. Yet these deaths of American citizens continue to generate significant controversy in the US.
Posted in MidEast
Tagged with al Qaeda, al Qaeda-linked militants, Al Qaida, Anwar al-Awlaki, AQAP, CIA strikes, Covert US strikes, yemen, Yemen intelligence, Zinjibar
← "Hoodies" – Cong. Rush escorted off House floor
Obama – devious and dishonest – about time people noticed →

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Sapiens and Homo Deus: The E-book Collection
A Brief History of Humankind and A Brief History of Tomorrow
by Yuval Noah Harari
Discover humanity's past and its future in this in this special e-book collection featuring Sapiens—a reading pick of President Barack Obama, Bill Gates, and Mark Zuckerberg—and its acclaimed companion Homo Deus.
"Sapiens tackles the biggest questions of history and of the modern world, and it is written in unforgettably vivid language." — Jared Diamond, Pulitzer Prize-winning author of Guns, Germs, and Steel, Collapse, and The World until Yesterday
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"This was the most surprising and thought-provoking book I read this year." — Atlantic.com
"Yuval Noah Harari's full-throated review of our species may have been blurbed by Jared Diamond, but Harari's conclusions are at once balder and less tendentious than that of his famous colleague." — New York magazine
"This title is one of the exceptional works of nonfiction that is both highly intellectual and compulsively readable… a fascinating, hearty read." — Library Journal (starred review)
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"Writing with wit and verve, Harari…attempts to explain how Homo sapiens came to be the dominant species on Earth as well as the sole representative of the human genus.… Provocative and entertaining." — Publishers Weekly
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Imprint: Harper
BISAC1 : HISTORY / World
BISAC2 : HISTORY / Civilization
BISAC3 : SCIENCE / Life Sciences / Evolution
Photo by Ilya Malnikov
Prof. Yuval Noah Harari is a historian, philosopher, and the bestselling author of Sapiens: A Brief History of Humankind, Homo Deus: A Brief History of Tomorrow, 21 Lessons for the 21st Century, and Sapiens: A Graphic History. His books have sold over 35 million copies in 65 languages, and he is considered one of the world's most influential public intellectuals today. The Guardian has credited Sapiens with revolutionizing the non-fiction market and popularizing "brainy books".
In 2020 Harari joined forces with renowned comics artists David Vandermeulen and Daniel Casanave, to create Sapiens: A Graphic History: a radical adaptation of the original Sapiens into a graphic novel series. This illustrated collection casts Yuval Noah Harari in the role of guide, who takes the reader through the entire history of the human species, accompanied by a range of fictional characters and traveling through time, space and popular culture references.
Born in Haifa, Israel, in 1976, Harari received his PhD from the University of Oxford in 2002, and is currently a lecturer at the Department of History, the Hebrew University of Jerusalem. He originally specialized in world history, medieval history and military history, and his current research focuses on macro-historical questions such as: What is the relationship between history and biology? What is the essential difference between Homo sapiens and other animals? Is there justice in history? Does history have a direction? Did people become happier as history unfolded? What ethical questions do science and technology raise in the 21st century?
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The Christchurch Women's Rugby Club is ready to tackle a tough pool at their first ever Vailima Marist International Sevens Tournament this week.
They've been drawn with defending champions Auckland Samoa, Samoan national champions Apia Maroons, and dark horse Te Tai Tokerau, who have some Black Ferns in their ranks.
Manusina captain and Kiwi Fern rugby league international Sui Pauaraisa put the Christchurch team together and brought them to Samoa for Marist.
She said it's a tough pool, but they need to treat the tournament as though every team is the same.
"This is what I said to my girls, we'll just do us, it doesn't matter we'll just stick with our gameplan.
She said the girls can get caught up with seeing Black Ferns in the opposition.
She has first hand experience with both Auckland Samoa and Apia Maroons, having played for them last year at the Marist Sevens and the S.I.I Sevens tournaments in Samoa respectively.
"There's a massive growth in the game since last year after Marist.
After her experiences last year, Pauraisa wanted to put together her own side to bring back.
The Christchurch Women's Rugby Team has players from all different clubs in the city.
She said it was expensive and a big sacrifice for some of them, including three of the team who are mothers.
"Some of us are on leave without pay, including me.
Pauaraisa has taken on the roles of coaching and managing the team, as well as playing.
However she's given up captaincy, saying she wants to build everyone else up.
Captain Cassie Siataga (23) agreed.
She said she'll take on most of the on-field responsibility, something she is used to.
Siataga didn't come from a rugby background, having used to represent New Zealand in softball.
"But it's something i've always had, and haven't shied away from.
Siataga is afakasi, and has lived in Christchurch most of her life.
Her family is from Tanugamanono, had her first trip to Samoa was with Pauaraisa to play for Apia at the S.I.I Sevens.
"I've always known who I am and where i'm from, but actually getting to see and experience everything firsthand is pretty cool," she said.
She said it was cool to share part of her background with her teammates.
Siataga said she was especially looking forward to the coaching clinics the team will be running here.
"I love just helping, that's why I coach a lot when I'm at home.
Pauaraisa is particularly excited to give back to the women's game.
She said in Samoa, girls are expected to focus on schooling and helping their family, while boys are the ones who can play sport.
She said they'd be worldbeaters if they got the same resources that men did.
Pauaraisa said it was exciting to see women being put on the big stage for sports through the Marist Sevens.


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Accusing Conan O'Brien: Two Joke Writers Walk Into a Courtroom
On November 10, 2015 January 18, 2022 By carlunegbuIn Comedy Legal
Accusing people of joke stealing has become such an old problem in comedy that it hardly raises eyebrows anymore. Except maybe when somebody is actually accusing an industry heavyweight like Conan O'Brien of being, ahem, a joke thief. But this one case seems more interesting than most because of the rather contemporary feel to it all: the alleged joke heist took place on Twitter, the emerging "it" forum for pushing jokes in our social media age. So, behold an old problem invading a new space even though said problem is still an unresolved menace in all the old places it had come from. But first here's the story:
This past July, a comedy writer in the San Diego area named Robert Alex Kaseberg filed a copyright violation lawsuit in federal court in California against Conan O'Brien and all those associated with his show, including TBS, Time Warner, Inc., and his writing staff. Kaseberg alleged that four of his jokes that he posted on his personal blog and on Twitter later appeared on O'Brien's monologue during his TBS late-night show Conan without any attribution to him or compensation to him. . The four jokes at issue ranged from gags about Delta Airlines and Tom Brady to the Washington Monument and Bruce Jenner.
Here's a sample of some of the jokes allegedly stolen by O'Brien:
Kaseberg: "A Delta flight this week took off from Cleveland to New York with just two passengers and they fought over control of the armrest the entire flight."
O'Brien: "On Monday, a Delta flight from Cleveland to New York took off with just 2 passengers. Yet somehow, they spent the whole flight fighting over the armrest."
Kaseberg: "The Washington Monument is ten inches shorter than previously thought. You know the winter has been cold when a monument suffers from shrinkage."
O'Brien: "Surveyors announced that the Washington Monument is ten inches shorter than what's been recorded. Of course, the monument is blaming the shrinkage on the cold weather."
Anyhow, Kaseberg seeks hundreds of thousands of dollars in damages.
In the scheme of things, this case seems to have a bit more significance than many might think at first blush. For starters, it shows that the old worries about joke stealing in comedy won't be going away anytime soon; indeed the problem has now migrated to the social media arena, as it tracks the movements of the modern comedian and the newfound location of comedy audiences today. Unlike comedy clubs, Twitter is more like an open access forum, where things like a cover charge, drink minimums or other similar restrictions do not exist. The other angle to this story presents something of a David and Goliath scenario: like, when a lesser known comedian is claiming the same joke as a nationally known late-night comedian with the large microphone of national TV, all the advantages seem to run in one direction so that the odds of the lesser-known guy (the little guy) winning that battle is usually pretty steep – and punishing. Assuming, of course, that the person who's being accused actually stole the joke from the other.
But anyhow, aside from who has a bigger microphone between the two, when we consider just the law, can the little guy in this case actually win? Well, let's see:
For starters, it is obvious from the present lawsuit that we're dealing here with copyright law. And although Twitter is a new medium, the idea of violating someone else's copyright − either in a joke or in some other protected thing like a movie or a book − is still the same. In very simple terms, for a piece of work to receive copyright protection under the law, it is required to be both "original" as well as be fixed in a "tangible medium of expression". As the name implies, an "original" idea is something that the person claiming the copyright protection basically came up with on their own; in other words, something not copied from somebody else, so to speak. Well, there are some rules, perhaps many rules around the whole notion of "originality" in copyright law. For instance, certain things or ideas are just not of the kind that can be protected by copyright and so no one can be granted a copyright on them. The oh-so common expression "Happy Birthday!" for instance, probably falls into the class of expressions for which no one can be granted a copyright. Again, just because two people have expressed their ideas in the same exact way doesn't necessarily mean that a copyright has been breached. In such a situation, it must also be shown that the person who is alleged to have violated the claimant's copyright actually had access to the said copyrighted material. Otherwise, the alleged similarity between the two works could be chalked up to mere coincidence. Yeah, a showing of coincidence could actually save the day for the person being accused of copyright violation.
To return to the O'Brien situation here, two things look like they are clear: first, the jokes being claimed by Kaseberg seem to be original enough as to qualify for copyright protection, assuming, of course, that he has properly registered those particular jokes at the Copyright Office; second, the jokes involved here were affixed to a tangible medium, namely, Twitter. Plus, it is also true that Kaseberg published the said jokes on Twitter before O'Brien used them in his monologues on his show. (The Delta flight joke, for instance, appeared on Kaseberg's Twitter page earlier in the day on January 14 before O'Brien made his own joke later that same day in his late-night monologue.)
Yet, that's not the end of the matter. Among other things, even though Twitter is an open forum where anybody can have access to, Kaseberg will still have to show that O'Brien actually lifted the jokes from his Twitter page. Interestingly, O'Brien's people have already rejected the suggestion that they got the joke from Kaseberg's sources. In a reported conversation between Kaseberg and Conan's head writer Mike Sweeney (published on Kaseberg's blog), Sweeney did "angrily and loudly" deny that the jokes came from Kaseberg and was "furious" and "incensed" at the suggestion that his writers would have anything to do with the "pathetic blog of a no- name failure" like Kaseberg. Despite the striking similarity between the O'Brien and Kaseberg jokes, the obvious implication of the pretty hard pushback by O'Brien's side is the assertion that his people [the writers on his show] came up with the jokes by themselves. Well, unless Kaseberg has some kind of smoking gun of the alleged heist, he doesn't seem to have a pathway to victory here. Tough stuff! Plus, it doesn't help him too much that only the Delta flight joke comes up on a search of his blog or Twitter record from that period; the other three do not.
At this point, it is not clear how long this litigation will drag on and for that matter how well Kaseberg's claims will hold up in the end. If one were to take a bet on the outcome of the case, it would seem like a better bet to say that the case will settle somehow and not go the distance. Though Team O'Brien might well decide, standing on principle, to fight this whole thing to the bitter end, the odds of a settlement of this matter looks somewhat decent. At this point, for O'Brien's side, the bigger pain isn't so much the merits of Kaseberg's lawsuit as it is the optics of it all. Considering the striking similarity between their respective jokes and the showbiz reality that some folks who don't much like O'Brien just might be tempted to believe the worst of him in this situation, O'Brien's side might find the idea of a settlement not to be a bad one after all. A successful show like Conan would likely prefer to avoid the unnecessary distraction and embarrassment of this kind of pesky argument with a guy like Kaseberg.
In the end, it is not that hard to observe that when it comes to protecting jokes in comedy, not much help is available under the copyright law. By comparison to what is done for movies and music, the protection afforded to comedy jokes is rather quite weak. By the way, as matters stand in comedy at this time, if somebody in O'Brien's position is in the mood to steal jokes and is worried about copyright lawsuits from folks like Kaseberg, all they have to do is to simply use different words to say the same joke and (get this!) they'd be home free. With a copyright scenario like that, it just seems that the notion of protecting jokes in the comedy world at the moment is perhaps nothing less than a big joke in itself.
"Conan O'Brien"accessCaitlyn Jennercoincidencecomedy clubConancopyrightcopyright violationDelta FlightHappy Birthday!joke stealingMike Sweeneymovie copyrightmusic and moviesmusic copyrightoriginalityRobert Alex kasebergsettlementtangible medium of expressionTBSTime warnerTwitterWashington Monument
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