#Label and Copyrights: IIES

[g66lol]

These days, almost all of us are creating media and sharing it online.

One problem is finding good music that doesn't infringe on copyrights. 

Even if you're not trying to monetize your creations, platforms like YouTube and Twitch will put ads on anything you create that uses copyrighted music.

I hear some podcast hosts are doing this now, too.

I'm starting a record label that ONLY provides music that is #DRMFree and #CreativeCommons.

You go to the website, choose a genre you like and listen to some music.

Then you buy the albums you like or even just individual songs.

It's immediately available for download and you can then put them in whatever creations you want.

You own the music forever.

Don't worry about your Twitch and YouTube videos being demonetized.

With our DRM-Free Creative Commons music, you'll be able to use your music as you please, on any device you want.

Buy some music now to help raise funds to get the record label off the ground:

If you prefer #InstrumentalHipHop, check out the beatMage: https://megabyteghost.bandcamp.com/album/a-day-at-the-carnival-with-the-beat-mage

If you like #Industrial music, check out megabyteGhost: https://megabyteghost.bandcamp.com/album/dead-mans-switch

And if you like #DarkAmbient music, check out Prefecture.Audio: https://megabyteghost.bandcamp.com/album/prefecture-audio-ii-swamp

[queer-ragnelle]

What are your thoughts on what makes something fanfic instead of an Arthurian retelling? Would it be looked down on to try to get something originally written with the intention of it being fanfic published properly?

Hi anon! I don't understand your second question, but I can definitely answer your first one.

TL;DR it comes down to authorial intent and respecting the historical and cultural context of a work. If someone writes an Arthurian story and posts it on Ao3 to share with their friends and followers, referring to their writing in their own words as fanfiction, then it's fanfiction. But I don't consider my own writing to be fanfiction, and neither do I think it's appropriate to impose that label into the past, before the necessity of such a concept existed, calling the works of Sir Thomas Malory or Chrétien de Troyes fanfiction. We're all participating in a literary tradition, but not all of us are writing fanfiction. Only the creator themselves can decide that. So...

I would prefer my books be called a retelling or a pastiche.

We could argue point 5's greater relevance here as not all retellings strive to imitate the Medieval style to such an extreme, nor can it apply to other mediums which transcend the written word, such as Arthurian films, TV shows, games, musicals, stage plays, etc. But the other points certainly apply to all Arthurian works, and point 5 applies to me. (Another example of this would be Madeline Miller's The Song of Achilles, which adopts a poetic style emulating the epic poetry it's based on.) So I encourage others to research that concept more and appreciate how lucky we are that the subject of our interest is unhindered by licensing contracts and potential copyright strikes and the capitalistic necessity of pandering to commercial interest.

Fanfiction is, by definition, writing derivative of copyrighted material or utilization of the intellectual property belonging to someone else with ownership of the characters, setting, or other assets appearing in the fan-made work. The term exists as a means to shield amateur creators and their contributions to the fan-community under the terms of fair use from the axe of corporations who wish to monopolize and monetize the property. It likewise protects creators from having their work stolen and repurposed by others, so a small creator may have some legal recourse against a big corporate entity stealing their intellectual property. (See: Hot Topic printing indie artist's works on T shirts.) Copyright expires, unless you're Disney. So you can now write and publish works based on Lewis Carroll's Alice in Wonderland or Arthur Conan Doyle's Sherlock Holmes. That being said...

Works derivative of or inspired by mythology and literary traditions are not the same as fan-works suppressed by the weight of copyright laws weaponized by businesses in power.

Mythological and literary characters are owned by to no one, belonging only to the cultures from which they originate. It is to them a creator pays respect, not an individual or corporation or franchise, as is the case with works created within the last 100 or so years. Mythology requires no license to engage with in the same way one would require to contribute "officially" to a comic book series, or a TV show, or a video game etc.

If one intends to adapt The Odyssey, they need not copy/paste the fair use disclaimer into the description to cover their ass, because Homer has been dead for thousands of years, and even so, he did not own the character Odysseus, and merely contributed to the story-telling tradition of his era. The Netflix show Blood of Zeus can use Zagreus and Melinoë equally as much as Hades and Hades II, not because they obtained permission from some greater entity, but because authorization, or explicit mention of fair use, aren't required at all. Many of these traditions are tied to religion as well, and this should be handled with utmost care. Simurgh is a bird-dog creature of Persian mythology, derivative of an earlier bird-creature called Saēna in the Avestan-language of ancient Zoroastrian texts. She made an appearance in the recent episode of Delicious in Dungeon relating to griffons. Some translations of old Pahlavi texts I have actually refer to Simurgh as a griffon as a means of localizing the meaning of her name which would otherwise be immediately understood by an Iranian. This doesn't mean the anime or anything else referring to such mythological/literary creatures are fan-works, they pay homage to the old works. In the same vein, Paradise Lost isn't fanfiction of the Bible any more than the New Testament is fanfiction of the Old Testament. Fiction doesn't exist in a vacuum. If all inspired creation is beholden to its source, then everything ever written is fanfiction of The Epic of Gilgamesh.

Personally, I don't want to define my writing or art or any of the stories or films I enjoy with a capitalistic framework Arthurian enjoyers are so blessedly free of. There are, of course, exceptions. One can write fanfiction of BBC Merlin, as that story belongs to the BBC. But I wouldn't consider the show itself to be a fan-work. Neither would I consider Monty Python and The Holy Grail or Excalibur or the Camelot musical to be fan-works. Not unless Monty Python or John Boorman or Alan Jay Lerner say so themselves. The BBC did not invent the story of young Merlin, neither did Mary Stewart, perhaps not even the Vulgate did, as many Arthurian texts are lost to us. These are contributions to the Arthurian tradition, just as fanfiction is, all equally important and integral to keeping the legacy alive. They are derivative of Medieval literature and inspired by other retellings, adaptations, what have you, and not subject to corporate scrutiny. It's pointless to concern ourselves with it and draw lines in the sand which only exist in the fandom-space because of capitalism and the limitations borne of a franchise-conscious sanctions.

I hope this helps clear things up for you, anon. Feel free to clarify your second question in another ask so I can address that, if I haven't already. Have a wonderful day! :^)

[grayintogreen]

Pinned Post II: Electric Boogaloo

Hi, I'm Chris! I'm updating my pinned post to be more streamlined so here we go.

I liveblog Critical Role every week and tag with "cr spoilers" up until Monday. This tag also gets used for Candela Obscura and any one-shots. Dimension 20 spoilers are labeled “d20 spoilers.”

This is primarily a Critical Role and Dimension 20 blog, but I contain multitudes. You will see a lot of random shit depending on my mood. I’m really into Hazbin Hotel right now, for example, so my blog is kinda inundated in that. Honestly I might as well admit I am also a Hazbin blog at this point. Sorry, women.

I write a lot of fic, which can be found on my AO3 here. I primarily write fic centered on minor/supporting characters. I'm also the author of the life in the margins of redemption and red roses and dead things series- more about these below.

I have a ko-fi if you'd like to give me a tip for any reason.

My two big series are as follows:

red roses and dead things (or Roseverse), a canon divergent Hazbin Hotel (goes AU after 1x06) series that deals with working on continuing the story while I wait for new material. It is lore-heavy, Team as Family, and redemption-focused with focus on Huskerdust, Alastor and his deal, Lucifer and his relationship to Heaven and Hell and his family, and Charlie continuing to pursue her dreams. Also contains significant amounts of Helluva Boss because we’re not beholden to copyright here.

life in the margins of redemption (or LitMoR), a For Want of a Nail CR2 Canon Divergent series, is a duology (with additional side stories) that takes the alternate path outlined in the Harvest's Close session notes- Cree rescuing the Nein from the Gentleman's wrath should they betray him- and takes it a step further with Cree reviving Molly on the Glory Run Road and traveling with the Nein in the hopes of finding a way to bring Lucien back. It is extremely Canon Divergent, but does feature CR2 plots under radically different circumstances and with additional characters. It's worldbuilding heavy, character-driven, often dark, but has a guaranteed happy ending. You may heard of it as "that 1.5 million word fanfic series."

It is not canon compliant with TNEOL as I had finished OUADYA before TNEOL came out. While I use some elements from the novel, the backstory presented for Lucien and the Tombtakers in the series is entirely different.

More details, including links to the fics, beneath the cut.

THE MAIN STORIES.

Note that while the series features Fjorester, Beauyasha, and Widomauk as primary ships, it is above all a gen fic that focuses on the platonic relationships even more than the romantic ones. I cannot in good faith rec this fic to you if you HATE any of those ships, but I can say if you're indifferent/just want a plot and platonic relationship focus, this fic will appeal to you.

once upon a damn-you-all. Cree saves Molly on the Glory Run Road, sending the Nein's trajectory off the rails in a story about redemption, change, fate, and team-building. Also Molly having to contend with the Somnovem.

you can't deny high noon. The Nein continue their journey with an additional member- a reluctant, captive Lucien- as they continue to face numerous challenges while enemies lurk in the background. While OUADYA is mostly original plotlines, this fic follows the majority of the major plot beats of canon albeit a bit twisted around and out of order.

THE SIDE STORIES

While not necessary to read in order to understand the main duology, I feel like not reading them causes a loss of impact, as often events/characters from them are referenced in the main narrative and having more perspective on the events adds more oomph. This is an extremely detail-oriented series and barely anything goes in without some thought put into it. For the sake of not overwhelming my audience, I'm only listing the side stories I think are actually important to the overall narrative, but please do read the others if you have the time.

there's something divine in the way screams can sound. The events of OUADYA as seen through the eyes of someone trapped in the Astral Sea- or Lucien's utter breakdown, now with context. Introduces several backstory elements that become super relevant in YCDHN.

as in the painted parlor, ophelia dreams. The story of how Ophelia came to the Run, became a Mardoon, and gave up her son.

all of the dreamers defying convention. A fic that takes place in the two month gap between the two duology stories and bridges the two narratives.

OTHER LINKS

original character guide. A guide to the many original characters featured in the series.

[usnatarchives]

HAPPY BIRTHDAY BUGS! By Miriam Kleiman, with a shoutout to #1 Bugs fan Jason

What’s up, Doc? Bugs Bunny debuted #OTD 1940 in the Warner Bros. cartoon A Wild Hare. That "Wascally Wabbit" went on to sell war bonds (see above), and serve as a Marine in World War II! NARA GIF from “Bond Rally, 1941.” In "Uncle Sam Speaks," NARA ID 1632603. (Image of Bugs Bunny copyrighted by Warner Bros.)

Bugs Bunny: Proud MARINE!

At the end of this 1943 short Bugs wears a USMC uniform. In response, the Marines made him an honorary private. He continued to rise through the ranks and is the only cartoon character to hold the rank of honorary Marine Master Sergeant!

From Marine Corps records, undated, from collection labeled "General – Insignias, Emblems, Patches, Seals." NARA IDs 74239994 and 74239883.

More Looney Tunes/WWII connections! "Private Snafu" in RUMORS, a WW2 training film, part of a series directed by Chuck Jones and other Hollywood animators. The voice of Private Snafu was performed by Mel Blanc! 

See related Tumblr post to learn the surprising connection to Dr. Seuss! NARA ID 35828. NARA Gif here.

Consolidated B-24 Liberator -- "Bugs Buggy." (USAF #58230AC) August 1945, NARA ID 204992017.

Mel and Estelle Blanc with President Reagan at the White House, 3/30/1984. Reagan Library, NARA ID 75853283.

[noloveforned]

no love for ned is back on wlur tonight from 8pm until midnight. i took last week off to catch a couple of my favorites bands from the nineties live in dc- velocity girl and tuscadero!

speaking of the nineties, two weeks ago i did a best of 1993 show that's now on mixcloud. as always i played a couple songs that turned out to be a year off due to the damn copyright dates listed on the cd. i know the sdre was actually 1994 and the portastatic might be too! we'll still be doing a 'best of 2003' show in a couple weeks!

no love for ned on wlur – november 24th, 2023 from 8pm-midnight

artist // track // album // label the lemonheads // down about it // come on feel the lemonheads // atlantic the juliana hatfield three // spin the bottle // become what you are // mammoth teenage fanclub // the cabbage // thirteen // dgc belly // dusted // star // sire the posies // dream all day // frosting on the beater // dgc liz phair // never said // exile in guyville // matador cracker // get off this // kerosene hat // virgin the boo radleys // there she goes // so i married an axe murderer soundtrack // chaos the cranberries // dreams // everybody else is doing it, so why can't we? // island unrest // make out club // perfect teeth // 4ad velocity girl // crazy town // copacetic // sub pop tiger trap // puzzle pieces // tiger trap // k the apples in stereo // tidal wave // tidal wave 7" ep // elephant six even as we speak // love is the answer // feral pop frenzy // sarah the pastels // thank you for being you // truckload of trouble // seed dqe // twister // but me, i fell down // feel good all over crayon // the snap-tight wars // the snap-tight wars 7" // harriet bratmobile // cool schmool // pottymouth // kill rock stars guided by voices // shocker in gloomtown // the grand hour 7" ep // scat the breeders // divine hammer // last splash // 4ad the flaming lips // be my head // transmissions from the satellite heart // warner bros. letters to cleo // here and now // aurora gory alice // cherrydisc catherine wheel // crank // chrome // fontana ned's atomic dustbin // saturday night // so i married an axe murderer soundtrack // chaos the smashing pumpkins // hello kitty kat // today ep // hut dig // believe // dig // radioactive moth macabre // two days // moth macabre // interscope eve's plum // i want it all // envy // epic sand rubies // your life story // sand rubies // atlas drop nineteens // all swimmers are brothers // national coma // caroline radiohead // ripcord // pablo honey // capitol walt mink // subway // bareback ride // caroline dinosaur jr. // start choppin // where you been // sire thrush hermit // marya // marya 7" // genius the spinanes // spitfire // manos // sub pop the afghan whigs // what jail is like // gentlemen // elektra morphine // candy // cure for pain // rykodisc evan dando // frying pan // sweet relief- a benefit for victoria williams tribute // columbia barbara manning // joed out // no alternative compilation // arista matthew sweet // time capsule // altered beast // zoo entertainment mazzy star // fade into you // so tonight that i might see // capitol east river pipe // make a deal with the city // goodbye california // sarah portastatic // naked pilseners // i hope your heart is not brittle // merge witch hazel // just don't try // just don't try 7" // bubblegum smile his name is alive // drink, dress, and ink // mouth by mouth // 4ad yo la tengo // sudden organ // painful // matador suede // animal nitrate // suede // columbia u2 // stay (faraway, so close!) // zooropa // island red house painters // new jersey // red house painters ii // 4ad grant lee buffalo // fuzzy // fuzzy // slash godstar // forgotten night // sleeper // half a cow buffalo tom // sodajerk // big red letter day // beggars banquet james // laid // laid // fontana the lucksmiths // adolescent song of mindless devotion // the lucksmiths cassette // banana noise addict // i wish i was him // i wish i was him 7" // fellaheen lambchop // nine // nine 7" // merge sunny day real estate // seven // diary // sub pop shudder to think // animal wild // sweet relief- a benefit for victoria williams tribute // columbia sugar // feeling better // beaster ep // rykodisc superchunk // precision auto // on the mouth // matador archers of loaf // web in front // icky mettle // alias seaweed // kid in candy // four // sub pop bikini kill // rebel girl // pussy whipped // kill rock stars fastbacks // hung on a bad peg // zücker // sub pop pavement // unseen power of the picket fence // no alternative compilation // arista neutral milk hotel // everything is // everything is 7" // cher doll

[michael-svetbird]

: • MINERVA: Roman creation, 2nd c. AD, from a Greek Original of Classic Period. Collezione Farnese, MANN Sala XIII [from Palazzo Farnese, Rome]: "This statue is a reworking of a classical statue type of the 2nd half of the 5th c. BC. The goddess is depicted with a Corinthian helm in a pose of contemplation. Originally her right hand supported the shield that rested on the ground, and she grasped the spear in her left. The head and arms, one of which has been lost, are restorations. In the Palazzo Farnese the statue was located in one of the two niches of the Great Salon. The sculpture can be dated to the 2nd c. AD." [ ©MANN ] . Museo Archeologico Nazionale di Napoli | MANN @museoarcheologiconapoli https://mann-napoli.it/en/home-english . MANN | Phs©MSP | 10|22 5800X3780 600 [I, II, IV] The photographed object is the property of MANN and subject to the Museum copyright. All labels & descriptions txt ©MANN. [no commercial use | sorry for the watermarks] . • Part of the "MANN.Selected" and "Reliefs-Friezes-Slabs-Sculpture" MSP Online Galleries: . • D-ART - "MANN.Selected": https://www.deviantart.com/svetbird1234/gallery/76957935/mann-selected . - "Reliefs-Friezes-Slabs-Sculpture": https://www.deviantart.com/svetbird1234/gallery/72510770/reliefs-friezes-slabs-sculpture . • FB Album | "MANN.Selected": https://www.facebook.com/media/set/?set=a.1329554957413078&type=3 . . #naples #napoli #mann #archaeologicalmuseum #museoarcheologico #ancientart #ancientsculpture #ancientrome #palazzofarnese #romancopy #sculpture #statue #antiquity #arthistory #archaeology #museology #mythology #ancient #minerva #menrva #μινέρβα #αθήνα #goddess #goddessminerva #archaeologyart #artgallery #sculpturephotography #archaeologyphotography #museumphotography #michaelsvetbird ©msp @michael_svetbird 10|22 mann @museoarcheologiconapoli . (at Museo archeologico nazionale di Napoli) https://www.instagram.com/p/CmL2aOxoi3I/?igshid=NGJjMDIxMWI=

[newyorkprelawland-blog]

Unveiling the Legal Landscape: Exploring the Intricacies of Copyright Infringement in the Music Industry

By Jesse Schwartz, Binghamton University Class of 2024

June 21, 2023

In today's modern world, the intersection of music and copyright brings forth intriguing discussions and legal considerations. As technology continues to advance at a rapid pace, its impact on the music industry cannot be overlooked. From the proliferation of digital platforms to the ease of sharing and accessing creative works, the landscape of music and copyright has undergone a significant transformation. This exploration delves into the complexities, challenges, and legal perspectives that surround this fascinating domain.

I. The Rise of Digital Piracy and Its Legal Ramifications

The advent of the internet revolutionized the music industry, opening up unprecedented opportunities for music distribution and consumption. However, it also brought forth the dark side of digital piracy, where copyrighted songs are unlawfully shared, downloaded, and distributed. This rampant infringement not only affects the livelihood of artists but also poses significant legal consequences for the perpetrators. Several landmark cases have shaped the legal landscape, such as the notorious Napster case in the early 2000s, where the music industry fought against file-sharing platforms. Despite efforts to combat piracy, this ongoing battle continues to evolve alongside technological advancements.

II. The Notorious Cases: Celebrities Caught in Copyright Disputes

Celebrities, known for their influence and fan base, are no strangers to copyright infringement battles. In recent years, several high-profile musicians have found themselves embroiled in legal disputes, highlighting the importance of protecting intellectual property in the entertainment industry. One notable example is the case between Robin Thicke, Pharrell Williams, and Marvin Gaye's estate, where allegations of copyright infringement surrounding the hit song "Blurred Lines" led to a significant legal showdown.

The legal battle centered around whether "Blurred Lines" infringed upon the copyright of Marvin Gaye's song "Got to Give It Up." The plaintiffs argued that Thicke and Williams had copied substantial elements of Gaye's composition, while the defendants maintained that the songs shared only a general "feel" and did not infringe on the specific copyrightable elements. The case raised questions about the scope of copyright protection and the distinction between inspiration and infringement.

Ultimately, the jury ruled in favor of Marvin Gaye's estate, awarding them a substantial amount in damages and ongoing royalties. This case served as a wake-up call for artists, reminding them of the importance of respecting copyright boundaries and seeking appropriate permissions for their creative endeavors.

III. The Impact of Streaming Platforms on Copyright Protection

With the rise of streaming platforms, the dynamics of music consumption have undergone a significant transformation. While these platforms provide convenient access to a vast music library, they have also posed challenges in terms of copyright protection. Music licensing agreements between streaming services and record labels play a crucial role in ensuring that artists receive fair compensation for their work.

However, issues of unauthorized use, unlicensed sampling, and royalty disputes persist. Artists often find their work used on platforms without their permission, leading to copyright infringement claims. The legal frameworks surrounding streaming services, such as the Digital Millennium Copyright Act (DMCA), seek to strike a balance between protecting copyrighted works and fostering innovation in the digital music landscape.

IV. Unveiling the Legal Arsenal: DMCA and Fair Use

Within the realm of copyright law, the Digital Millennium Copyright Act (DMCA) and the doctrine of fair use hold significant importance. The DMCA provides a framework for copyright owners to protect their works online, addressing issues of infringement, takedown notices, and the liability of online service providers.

Streaming platforms, as intermediaries, must comply with the DMCA's provisions, implementing systems to respond to takedown notices and removing infringing content promptly. However, the DMCA's safe harbor provisions also shield service providers from direct liability for user-uploaded content, as long as they meet specific requirements, such as implementing a repeat infringer policy.

Fair use, on the other hand, permits limited use of copyrighted material for purposes such as criticism, commentary, parody, or educational endeavors. Courts evaluate four factors—purpose, nature, amount, and effect—when determining whether a use qualifies as fair use. This doctrine allows for creativity, transformative works, and cultural commentary, but its application can often be subjective and subject to interpretation.

V. The Role of Music Licensing and Copyright Collecting Societies

To navigate the complexities of copyright infringement, music licensing and copyright collecting societies play a pivotal role. These entities, such as ASCAP, BMI, and SESAC, ensure that artists and copyright holders receive fair compensation for the use of their works. They negotiate licensing agreements with various platforms, venues, and broadcasters, collecting royalties and distributing them to the appropriate creators.

The collective licensing system helps streamline the process of granting permissions and managing the rights of artists in an increasingly globalized music industry. However, challenges remain, particularly with the rise of digital platforms and the complexities of international licensing agreements. Artists and copyright holders must remain vigilant in ensuring that their rights are protected and that they receive appropriate compensation for the use of their creative works.

VI. Emerging Challenges: NFTs, Remix Culture, and Copyright Law

As technology continues to advance, new challenges arise at the intersection of music, art, and copyright law. Non-Fungible Tokens (NFTs) have gained prominence, allowing artists to tokenize and sell their digital creations. However, this emerging trend raises questions about ownership, intellectual property rights, and the potential for unauthorized distribution.

Legal considerations surrounding NFTs involve determining the extent of copyright protection and the transferability of rights within the blockchain ecosystem. Artists must carefully navigate these issues to ensure that their works are properly protected and that their rights are respected in the rapidly evolving landscape of digital art.

Additionally, the rise of remix culture blurs the lines of copyright infringement, as artists reinterpret and transform existing works. While transformative use is generally protected under fair use, disputes may arise when the boundaries are pushed or when commercial interests are involved. Courts grapple with defining the boundaries of fair use in this evolving landscape, prompting discussions on the balance between creativity and copyright protection.

The music industry has undergone significant changes since the advent of digital music platforms. One of the most prominent platforms is Spotify, which has transformed the way people listen to music. However, the rise of streaming platforms has also caused a decline in music sales and revenue for the industry. This phenomenon is known as the "Spotify paradox," where the industry's success and demise are intertwined. To address this issue, JH Richardson proposes the creation of a compulsory license scheme for on-demand music streaming platforms. This scheme would require platforms like Spotify to pay a fixed fee per stream to copyright owners. Richardson argues that such a scheme would benefit both the industry and the streaming platforms. The compulsory license would provide a steady revenue stream for copyright owners, which would incentivize them to invest more in creating music. This, in turn, would benefit streaming platforms by providing them with a broader and more diverse range of music to offer their users. Moreover, the compulsory license scheme would ensure that all copyright owners are compensated fairly, thereby reducing friction between artists and streaming platforms. In conclusion, the creation of a compulsory license scheme for streaming platforms like Spotify can save the music industry by providing a fair and steady revenue stream for copyright owners, incentivizing them to create more music, and benefiting streaming platforms by offering a broader range of music to their users.

Conclusion:

We have witnessed the complexities and challenges faced by artists, creators, and copyright holders. From the rise of digital piracy to high-profile cases and the impact of streaming platforms, the importance of copyright protection cannot be overstated. Understanding the legal frameworks, such as the DMCA and fair use, provides valuable insights into the delicate balance between creative expression and copyright enforcement.

Moreover, the role of music licensing and copyright collecting societies in ensuring fair compensation for artists underscores the need for a robust system of rights management. As emerging challenges like NFTs and remix culture test the boundaries of copyright law, it becomes crucial to foster discussions that address the evolving needs of creators and consumers alike.

By upholding the principles of intellectual property protection, we can promote a thriving and sustainable music industry that rewards the talent and creativity of artists while respecting the rights of copyright holders. Remember, in a world where creativity thrives, it is crucial to protect the rights of those who bring us the music we love.

______________________________________________________________

Richardson, JH. "The Spotify Paradox: How the Creation of a Compulsory License Scheme for Streaming On-Demand Music Platforms Can Save the Music Industry." UCLA Ent. L. Rev., vol. 22, 2014, pp. 171-206. HeinOnline.

Estate of Marvin Gaye v. Thicke, Williams, et al., Case No. CV13-06004 (C.D. Cal. 2013)

Napster, Inc. v. A&M Records, Inc., 239 F.3d 1004 (9th Cir. 2001)

Digital Millennium Copyright Act (DMCA), 17 U.S.C. § 512 (1998)

[warmaster-uk]

Cheerful British soldiers very happy to be in the UK after being evacuated from Dunkirk during Operation Dynamo (26th May-4th June 1940). Two wearing labels with upbeat slogans. "Hitler's Grave Berlin" and "We demand Hitler Alive".

Operation Dynamo was a massive evacuation effort conducted by the British Navy during World War II in 1940. The operation aimed to rescue British soldiers who were trapped on the beaches of Dunkirk in France after the German army had advanced rapidly across the country during the Battle of France. The operation involved the coordinated effort of more than 800 vessels, including warships, fishing boats, and pleasure crafts, which eventually transported over 338,000 soldiers to safety in England.

The operation was a crucial turning point in the war, as it allowed the British army to regroup and eventually fight back against the German forces. It was a remarkable feat of military planning and logistics, as the British Navy faced numerous challenges, including continuing pressure from the German land forces, constant air attacks from the Luftwaffe, ongoing organisational and logistical issues and unpredictable weather conditions.

Despite these challenges, the operation was a success, and it remains a defining moment in British military history and has come to be known as ‘The Miracle of Dunkirk’.

Original photo copyright Alamy. #secondworldwar #ww2 #worldwartwo #worldwar2 #war #history #militaryhistory #military #colourised #colorized #colourisedhistory #colorizedhistory #color #colour #colorizedhistoricalphotos #colorization #colourisation #retro #goodolddays #classic #goldenoldies #colorizedphoto #colourisedphoto #dunkirk #dynamo #evacuation #operationdynamo

[thatbanjobusiness]

A few labels from my Shellac record collection - Columbia records from 1908, 1928, and 1948

Based on tons of squinting at minor label changes (font changes, logo size, placement of price, placement and listing of patents, etc. etc. etc.). the catalogue number of a record (the A228, 15307-D, and 20488 you see here), and other factors, enthusiasts can roughly date their records even if they don’t have specific information on when the record was released.

1). The Columbia magic notes label was in existence from 1908-1917. The new label debuted in the autumn of 1908 with Columbia’s reintroduction of double-sided records (they debuted double-sided records in 1904 with nine initial offerings, mainly classical, and kept them in their catalogue through the end of 1907). The large music notes on this new label design also provided Columbia with a sorely-needed logo (competitor Victor already had Nipper the dog, after all).

You can see the catalogue number A228 on my sample. “A” was used to mark regular domestic issues (other letters in use were “E” for “ethnic” issues: “C” and “H” for imported and foreign language recordings; and “S” for special education series to be used in schools). The numbers started with A1 for 10″ discs. Columbia released A1 in September of 1908 and reached A250 by January of 1909. Ergo, you can tell just by the catalogue number that mine came out in 1908.

(There was a repressing in 1909 of this disc. I know I have the 1908 pressing based on what numbers are on the dead wax near the label.)

For the eight years that Columbia used their magic notes label, there were several variations. For instance, from 1908-1910, there were four copyright dates listed on the right bottom side. You can see that in my label. But from 1910-1913, they listed five copyright dates, and the price of the record was displayed in multiple ways. Obviously there are more variations, but that’s a sample of how one could date a record even if you didn’t have information about a specific disc.

2). In the middle image, you can see a Viva-Tonal label as was in use from 1925-1939. At first they started with a black label, as seen here. But then they introduced a Royal Blue version in December of 1932 - at first complete with blue shellac coating, not just a blue label - and they advertised these as being quieter than their initial black pressings. After they went through existing label stock, they converted this label to blue completely and dropped the black variant (but didn’t keep up with the blue Shellac).

There were quite a few variants to the Viva-Tonal labels. The particular variant you’re seeing in the photo was in use 1927-1928. 

Looking at the catalogue number, you can see a -D suffix. Records that were in the 15000s and paired with a -D were country music records. They reached 15280-D by June 1928 and hit 15340-D by January 1929.

3). The final label you see contains a logo with both music notes and a microphone labeled “CBS.” At the time they introduced the label, they had two colors: blue for their Masterworks (classical) series and red for their Popular series. Early issues were printed in gold lettering, as shown here, but later were printed in silver. The particular subvariant you see was in existence from 1948-1953.

- Information thanks primarily to Note the Notes: An Illustrated History of the Columbia Record Label 1901-1958 by Sherman and Nauck and The Almost Complete 78 rpm Record Dating Guide II by Barr.

[karishmasharma]

आदमी और छोटे हाथी की कहानी

Popular Stories ⦿ चींटी और टिड्डे की कहानी : https://www.youtube.com/watch?v=VTjq_... ⦿ लालची शेर की कहानी : https://www.youtube.com/watch?v=ZlMYa... ⦿ बदसूरत बतख का बच्चा : https://www.youtube.com/watch?v=XXJ6S... ⦿ कबूतर और चींटी की कहानी : https://www.youtube.com/watch?v=QjeO_... Credits: Story: आदमी और छोटे हाथी की कहानी || Story of man and little elephant Dialogues: Kiran Background Music: Saurav Kumar Label and Copyrights: IIES Editor: Vinay Pal

[docsgreys]

Hp 12c financial calculator manual pv

Hp 12c financial calculator manual pv how to#

Hp 12c financial calculator manual pv manual#

Hp 12c financial calculator manual pv series#

Hp 12c financial calculator manual pv free#

Hp 12c financial calculator manual pv how to#

Please continue on to the next page to learn how to solve problems involving non-annual periods. It has a positive NPV, the IRR is greater than our 12% required return, and the MIRR is also greater than our 12% required return. So, we have determined that our project is acceptable at a cost of $800. The MIRR is the discount rate (i) that equates these two numbers. At this point our problem has been transformed into an $800 investment with a lump sum cash flow of $1,715.61 at period 5.Now press FV and see that the future value is $1,715.61. To find the future value of the cash flows, enter -1,065.26 into PV, 5 into N, and 10 into i. Check out my CFA calculator guide + pros and cons analysis on HP12C vs BA II Plus.We find that the present value is $1,065.26. Now, enter 10 into the i key and then press f PV. Now, press 0 then CF 0, 100 CF j, 200 CF j, 300 CF j, 400 CF j, and finally 500 CF j. In this case we need to press f X>

Hp 12c financial calculator manual pv series#

In addition to the previously mentioned financial keys, the 12C also has keys labeled CF 0 and CF j (the cash flow keys) to handle a series of uneven cash flows. Example 3 - Present Value of Uneven Cash Flows We will also see how to calculate net present value (NPV), internal rate of return (IRR), and the modified internal rate of return (MIRR). In this section we will take a look at how to use the HP 12C to calculate the present and future values of uneven cash flow streams. In the previous section we looked at the basic time value of money keys and how to use them to calculate present and future value of lump sums and annuities.

Hp 12c financial calculator manual pv free#

and then press and release S to change the digit separator from a comma to a point.Are you a student? Did you know that Amazon is offering 6 months of Amazon Prime - free two-day shipping, free movies, and other benefits - to students? Click here to learn more Turn the calculator off first by pressing S. The default separator is a comma (see above). Printing History Edition 1, October 2008.Ĥ Getting Started Digit separator (page 17). Hewlett Packard hp 12c financial calculator backdrop Stock Photo. Hewlett-Packard Company 16399 West Bernardo Drive San Diego, CA 92127-1899. RM R9CRYRHP-12C Financial Programmable Calculator 1981 Voyager by Hewlett-Packard.

Hp 12c financial calculator manual pv manual#

Copyright 2008 Hewlett-Packard Development Company, Reproduction, adaptation, or translation of this manual is prohibited without prior written permission of Hewlett-Packard Company, except as allowed under the copy- right laws. Hewlett-Packard Company shall not be liable for any errors or for incidental or conse- quential damages in connection with the furnishing, performance, or use of this man- ual or the examples contained herein. Hewlett-Packard Company makes no warranty of any kind with regard to this manual, including, but not limited to, the implied warranties of merchantability, non-infringement and fitness for a particular purpose. Legal Notices This manual and any examples contained herein are provided "as is" and are subject to change without notice. In this tutorial, the following keystroke and data entry conventions will be used. This document is designed to provide you with (1) the basics of how your HP 12C financial calculator operates, and (2) the typical keystrokes that will be required on the CFA examination. HP 12c Financial Calculator Quick Start Guide Edition 1. HANDBOOK: HOW TO USE YOUR HP 12C CALCULATOR. Example: bankruptcy Search HP 12c Financial Calculator Quick Start Guide

[mmorghoney]

Create a footnote in word mac

#Create a footnote in word mac how to#

#Create a footnote in word mac full#

#Create a footnote in word mac mac#

#Create a footnote in word mac windows#

Return to your place in the document by double-clicking the number or symbol at the beginning of the note About Press Copyright Contact us Creators Advertise Developers Terms Privacy Policy & Safety How YouTube works Test new features Press Copyright Contact us Creators. Enter what you want in the footnote or endnote. On the References tab, select Insert Footnote or Insert Endnote. You can select the reference mark (both in the document body and in the footnote) and press Ctrl+Spacebar to unsuperscript it Click where you want to reference to the footnote or endnote. By default, the asterisk will be superscripted. In the new footnote, paste (Ctrl+V) the text you cut from the original footnote. Type an asterisk in the Custom mark box, and click Insert.

#Create a footnote in word mac how to#

Follow the above-mentioned steps and create some awesome and easy to understand documents.Home How to insert asterisk footnote in Word If you are a researcher frequently writing a research paper, presenting your work to your professor, writing a detailed report on a new product or an author writing a book, the footnote is a great tool to elucidate on some difficult terms or your sources of reference.

#Create a footnote in word mac mac#

The same steps can be followed if you want to add footnotes using a Mac PC. These are the simplest steps to add a footnote in the existing or new documents with MS Word 2016 or 2013.

You can select the numbering of the footnote as continuous running, restart at next section and restart the numbering at every page.

You have the option to select the symbol from different symbols available as a foot-mark in custom mark section.

In formatting section, you can the select the style of numbering from various options that include 1,2,3, or a,b,c, or I, ii, iii and much more to select.

In location section, you can determine the position of footnote either below the text or at the end of the bottom.

#Create a footnote in word mac windows#

In the footnote and endnote windows that open you can customize your footnote in following ways. To open the settings, click on the right corner of footnote section on the upper word menu. There are a number of ways you can customize the appearance of footnotes in the document. To add custom Footnote in MS word, you can click the below mark in Footnote options area as below. “Note: The keyboard shortcut to insert the footnote is by pressing the shortcut key Ctrl+Alt+F.” Insert custom Footnote in MS Word 2016/2013 Once a footnote is created, the typing cursor will automatically be shifted to the footnote number at the end of the page to write its description as shown in the image below. To insert a footnote at a particular place in the document, you need to click on “Insert Footnote”, it will add a footnote number, and simultaneously a separator bar will be created and presented to the document creator at the bottom of the page. Clicking References will open many options to cite, reference, cross-reference, indexing, and bibliography. Steps to Create Footnote in Word Office 365/2016 Ĭlick on references from the top menu in a word document and is located between “layout” and “mailings’. The footnote list is ordered, and each footnote is incremented automatically. If the same footnote is used in multiple times referencing in the document, the footnote will comprise of multiple backlinks and will look like ^ a b c Citation. The footnote label is in plain text followed by a carat.

#Create a footnote in word mac full#

A footnote represents full annotation of the source. A few examples of footnote marker are, and Note 1]įootnote. One such setting will allow a user to present a popup by hovering the mouse cursor over this marker. There are many options to select the way you can control the footnote marker. In the word documents a footnote marker is like a shortcut, and when you click this marker, it leads you to the full footnote on the bottom of the document. A footnote marker can be represented as a superscripted word, letter, or number.

Source information of statistics or tablesĪ footnote consists of two basic elements.įootnote Marker.

The Footnotes, in general, are used to provide

[michael-svetbird]

: • Playing Ephedrismos: "Two girls are playing a popular game called Ephedrismos in Greek, in which they act out the roles of the goddess of love Aphrodite and her son Eros. One is carrying the other on her back, while trying to use her hands to push over a stone. The winner may look forward to a happy marriage." [ ©AP ] . Canusian Polychrome Ceramics Production, Ca 4-3 BC. Canosa, Apulia | Magna Grecia . "The Hellenistic Cabinet" of Allard Pierson Museum | AP [Collections of Amsterdam University] @allardpierson . AP | Phs©MSP 08|22 6200X4100 600 [I.,II.] The photographed object is the property of AP and subject to the Museum copyright. All labels & descriptions txt ©AP. https://allardpierson.nl/en [no commercial use | sorry for the watermarks] . • Part of the "Mythology-inspired Small Format Sculpture & Miniature Artefacts" MSP Online Gallery: . • DeviantArt: https://www.deviantart.com/svetbird1234/gallery/69450077/small-format-sculpture-and-miniature-artifacts . • Facebook | Album: https://www.facebook.com/media/set/?set=a.859777984390780&type=3 . . #amsterdam #allardpierson #allardpiersonmuseum #archaeologicalmuseum #museoarcheologico #historymuseum #ancientart #ceramicsculpture #ceramicsart #ancientsculpture #ceramics #vasepainting #ancientpottery #archaeologyart #canosa #apulia #magnagrecia #greek #hellenistic #ancient #antiquity #archaeology #arthistory #ancientculture #mythology #museology #sculpturephotography #museumphotography #archaeologyphotography #michaelsvetbird @michael_sverbird ©msp @allardpierson | amsterdam 08|22 (at Allard Pierson Museum) https://www.instagram.com/p/Ci9tF-UIA46/?igshid=NGJjMDIxMWI=

[homeformyheart]

hopeless - m!raleigh carrera x mc (plat)

author’s note: i’m not sure if this fits into the same universe my other platinum fics take place in but i had fun with it. i hope you enjoy!

copyright: all characters owned by pixelberry studios. songs and lyrics owned by their respective creators. series/pairing: platinum – m!raleigh carrera x mc (cadence dorian); red carpet diaries cross-over – matt rodriguez x cadence dorian rating/warnings: 14+; swearing, descriptions of drinking, minor angst word count: 2.6k based on/prompt: “all you had to do was stay” by taylor swift / “secret love song pt ii” by little mix summary: news of cadence’s engagement makes raleigh and cadence revisit the way they left things.

hopeless

when cadence flew out to los angeles to secretly film music videos for her entire album, the last thing she expected was that she would get engaged. but here she was, in as private of a spot as one could find in the city of stars, with the matt rodriguez in front of her on one knee with a beautiful vintage-inspired octagonal diamond ring. no one was around except for a private photographer he hired so that they could control what made it to the press.

“cadence dorian, will you marry me?”

she knew what her answer should be. after all, her and raleigh had officially called it quits eight months ago. operative word being “officially.” it didn’t take long before she was introduced to matt when he was cast in her music video and raleigh’s label paired him off with some up-and-coming actress.

cadence fought to stay present and hoped that matt would think the tears forming in her eyes was because she was overwhelmed, when in reality, she was thinking back on the last time she spoke to raleigh.

6 months ago

“i don’t know if i can do this anymore,” cadence whispered. they had publicly broken up two months ago but were still carrying on in private whenever they could. “everytime i see you, a part of me dies a little more. all we have are these stolen moments, which won’t last once one of us has to go on tour again.”

those stolen moments included spending a few hours late at night in his bedroom a few nights a week, but whenever cadence struggled with feeling like she was a shameful secret, raleigh would cave and take her out as long as they both wore disguises. tonight was one such night and leave it to raleigh to find the one club in new york city that wouldn’t be packed with celebrities on a saturday night.

cadence saw raleigh’s grip on the steering wheel tighten as he drove them back to her apartment. her eyes welled up with tears and she let them fall down her face, ruining her makeup, as she sat silently in the passenger seat.

“don’t do this now, please. we had a nice time tonight, didn’t we?”

cadence pulled the long, curly-haired wig off her head and threw it onto the dash. “i want to hold you in the street, and kiss you on the dance floor. i should be able to shout it from the rooftops. why can’t it be like that?”

“cadence, you know it’s to protect you. you’re just starting out and i’m not going to ruin that for you… we— we can’t,” raleigh said, his throat tight and voice shaky as if he was afraid of where the conversation was going.

“i don’t want to live love like this. i don’t want to hide us away, constantly wondering if it will ever change,” cadence said sadly, drying her eyes with the back of her hands, ignoring the streaks of makeup now staining her skin.

raleigh pulled into the underground garage of her building and parked the car. he reached over to hold her hand in both of his and cadence felt a sob escape her.

“you mean the world to me, cadence. i want more than anything to show you off as my girlfriend, but we have to be careful for a while longer.” he gave her a dazzling smile, but she knew his heart wasn’t in it.

“i wish we could be like that, raleigh. but it’s obvious that it won’t happen and i can’t keep going on like this. i’m sorry,” cadence sobbed, pulling her hand from his and trying to take deep breaths to calm herself down.

cadence stepped out of the car and toward the elevators as raleigh looked on in stunned silence. she didn’t look back because she knew if she did, she’d want to run right back to him.

“cadence?”

she was brought back to the moment by the sound of matt’s voice and all she could do was nod and smile and let the rest of her tears “of joy” stream down her face as matt wrapped his arms around her and spun her around.

* * * * * raleigh looked out the window of his penthouse apartment with a glass of mezcal in his hand. against his better judgment, he scanned tabloid headlines earlier that day when a photo of cadence caught his eye. the photos made it look like she was cozying up to matt rodriguez in los angeles. raleigh prided himself on being around long enough in the industry that he could spot a tabloid relationship in two seconds, but there was something about how cadence looked in those photos that made him pause.

it was clear she was having fun and enjoying herself in the photos. he recognized the look on her face when she was mid-laugh and the cheek-hurting smile she had on reminded him of the beginning of their tabloid relationship over a year and a half ago now. but even back then, raleigh knew there was something special about cadence, something that he wanted to be real, something that made him blur the lines that defined his fake relationships in the past.

he looked at his watch and knew he needed to head out if he was going to make it to the event at a reasonable time. he knew cadence would be there and while he was fine with their recent game of avoiding each other at public events, he needed to run into her tonight. he gulped down the rest of his drink and walked out of his apartment. time to get some answers.

* * * * * his eyes zeroed in on cadence the second she walked into the room. she was wearing a gorgeous gold dress that no doubt was made for her given how it fit her every curve perfectly and showed off her shoulders and collarbone. raleigh felt his body temperature rise as he pictured ripping her hair out of its pinned updo and sucking at the sensitive spots on her neck and collarbone that he knew so well.

either he had been staring for too long or cadence sensed his presence because she looked over in his direction. they locked eyes and it was as if the entire room faded away; raleigh held her gaze, almost daring her to break eye contact first. which, she did, but not before she flashed him a look that he couldn’t quite place – apologetic? regret? embarrassment? whatever it was, it fled her features faster than he could blink. he wasn’t given any time to think about it as the tinkling sound of utensil against glass somehow seemed to drown out the conversations around him.

he looked around quickly and didn’t see any food so where the fuck did people get utensils? and more importantly, why didn’t he have a drink in his hand yet? not that he was eager to join in what was inevitably a toast to the couple of the hour.

“if i could have everyone’s attention,” the host of the party spoke over the din, smiling warmly. raleigh didn’t miss the way matt held out his arm toward cadence or the way she tucked hers into the crook of his elbow seamlessly while looking up at him with that beautiful smile radiating off her face.

“cadence and i want to thank all of you for coming out to celebrate our engagement.”

raleigh tuned matt out for the rest of the toast and looked at cadence incredulously. he glanced down at her hand that was wrapped around matt’s arm and could make out a glittering diamond ring on her finger. how had he not noticed that? and more importantly, how could cadence not have given him a heads up? he had assumed the relationship was for publicity and that somehow, when her career was more established, they would find their way back together.

he watched as cadence waved to the crowd before walking up the steps to the makeshift stage and seating herself behind the sleek black baby grand piano. raleigh was mostly sure that his jaw hadn’t dropped and his eyes hadn’t widened, but he was still too stunned to check.

“people like you always want back the love they gave away,” cadence started singing, her soulful voice ringing clearly through the speakers, “and people like me wanna believe you, when you say you’ve changed.”

raleigh had heard this song several times already, it was cadence’s number one single off her upcoming album, which he presumed had plenty of references to their relationship. but he didn’t care. the only thing he had ever truly wanted in his life besides his freedom from sunset skatepark was sitting up on that stage singing her heart out.

the room broke out into loud applause and cadence bowed before stepping off the stage. raleigh felt his feet propel him toward her and barely registered that he was standing in front of her until she looked up and said his name.

“raleigh?”

“can we talk?” he asked. she nodded and he followed her to a dressing room just outside the ballroom and locked the door behind him.

cadence crossed her arms and looked at him expectantly. “what did you want to talk about?”

raleigh gave her a long, scrutinizing look. “i guess congratulations are in order. i would’ve appreciated a heads up.”

“we’re not in a relationship anymore, raleigh, you made sure of that. i didn’t realize we still owed things to each other,” cadence snapped, eyes blazing.

“cadence, you know that’s not fair. you know i care about you and was trying to protect you,” raleigh hated that he was pleading.

“i didn’t ask you to protect me, i asked you to be with me. you had me in the palm of your hand, raleigh.”

raleigh’s fingers itched to reach out and hold her close to him, to have his body envelop hers in that way where she fit so naturally, it made you wonder if his body was made to hold hers. “i figured we’d end up together again, once your career was more established.”

cadence blinked in surprise and her eyes softened. raleigh had never given her any indication that he had thought that far ahead regarding their future, at least not seriously anyway. “oh, raleigh. i think it’s hopeless. we just weren’t meant to work out,” she sighed and walked past him to open the door.

“do you love him?” raleigh asked quietly. he glanced away once before looking at her, an almost imperceptible sign that gave away the fact that he was nervous. cadence knew this sign well and a sharp pain and sense of longing tugged at her heart.

“of course, i’m marrying him,” she replied, dropping her gaze. he was looking at her so intensely, she felt like he would see right through her. she turned around and walked out the door.

raleigh followed her and turned her back around to face him. “no, look me in the eye and tell me that you love him,” raleigh demanded firmly, grabbing her chin gently and lilting her face up so she was looking up at him.

“raleigh, i—”

“cadence, babe? there’s someone i want you to meet,” matt called out from behind her, cutting her off.

she gave her best apologetic look to raleigh and said, “i better go.”

as she turned around, he grabbed her hand gently and whispered in her ear, “you haven’t answered my question yet.”

cadence chose to ignore him as she followed matt to the other side of the room, toward his hollywood friends, all of whom she had met before. they ducked behind the group inconspicuously.

“are you okay? things looked a bit tense,” matt asked softly once he was sure that his friends were effectively blocking cadence from raleigh’s view.

5 months ago

“are you okay? you look a bit tense,” matt said, his tone friendly and free of judgment, which cadence appreciated.

“my publicist wants us to be in a fake relationship. i’m just tired of that sort of thing and thought she’d be a little more understanding since it hasn’t been that long since my last relationship ended.”

matt looked at her thoughtfully. “i gathered that most of the songs we filmed these music videos for were about at least one past relationship, but they were all about the same guy, weren’t they?”

cadence nodded, somewhat grateful that she was feeling too down to feel embarrassed that matt figured out she was still pining for raleigh.

“well, why don’t we try dating for real? it might help you move on and we’d still give our publicists the public relationship they want,” matt suggested. “and who knows? if everything goes well, we can even get engaged.”

cadence was surprised at the sincerity in matt’s voice. she tilted her head as she considered what he was really suggesting. “that would definitely catch everyone’s attention. okay, let’s do it.”

“i’m fine. mission accomplished,” she said, giving him a half-hearted smile.

“it’s not over until it’s over,” matt said, caressing his thumb over the diamond on her finger. “but maybe it’s time to make it official.”

cadence wrapped her arms around him and let herself be comforted by matt’s strong, warm body. “thanks matt. i’ll see you later.”

raleigh watched cadence make her way to the exit before following as quickly as he could. he meant it when he said he was going to get answers. by the time he made it outside, she was nowhere in sight. but he wasn’t going to give up. he flagged down the nearest cab and gave them instructions to her apartment.

when he arrived, he made his way to her unit and hesitated for a beat in front of her door. did he really want to do this? hear that she was in love with another man and was planning on marrying someone that was not him? did he no longer have a chance; was it really hopeless? raleigh lowered his hand briefly as he thought through a scenario where she was lost to him forever.

he let himself wallow for barely a minute before shaking his head angrily. cadence owed him a clear answer. and he at least owed her the truth about his feelings. he knocked twice and pressed his ear to the door. her apartment had a fairly thin door and he could only hear dead air. she probably hadn’t gotten home yet. raleigh took off his jacket and made himself comfortable on the floor. he would wait for however long it took.

cadence looked out the window of the cab as it approached raleigh’s brooklyn neighborhood. she felt a wave of nostalgia come over her at the familiar street lamps and buildings they passed. once they arrived, she quickly ducked inside the building and made her way to the elevator. there were two penthouse units on the top floor and cadence stood outside raleigh’s, suddenly wishing she had changed out of the ridiculous glittery gold dress and heels into something more casual. she steeled herself and held her chin up as she knocked on the door. after a beat, she knocked again, louder, just in case he left and went home after their brief interaction earlier than night. she hadn’t seen him leave the event and figured she might have to wait. she bunched up the skirt of her dress so she could sit on the fabric and took off her heels, sighing with relief. now all she had to do was wait.

* * * * * mentions: @raleigh-edward; @dulceghernandez; @thegreentwin; @kat-tia801; @otherworldlypresents; @brycesgirl; @robintora;

[canaryrecords]

A collection of early 20s Armenian-American indie recordings by the same name was issued by Canary 5 years ago, but having so swollen, we have broken it into 2 parts. This redux (20 songs) focuses on the MG Parsekian label; the other (now renamed A Diamond Ring) is now 23 tracks. New, more vivid transfers and restorations have been produced of all of the material as well as 1,500 words of notes with major contributions by Harry Kezelian . A significant snapshot of the moment in the development of Armenian and Greek musics in the U.S.

Margadich “George” Parsekian (b. present-day Diyarbakir, May 1883) arrived in the U.S. about the age of 14. By 1905, he was settled in northern New Jersey and working as a salesman. Among his streams of income was importing disc recordings from Turkey for the immigrant community. In 1912, he apparently approached Columbia Records in New York City with the prospect of recording a handful of immigrant musicians from present-day eastern and southern Turkey, resulting in three sessions in September and October of that year that yielded a total of 10 discs issued as part of Columbia’s “E” (ethnic) series. These were the first commercial recordings made in the U.S. in the Turkish language. (See the Canary release And Two Partridges for 14 of those 20 sides.) Both Columbia and Victor issued several dozen more discs in Turkish during World War I before essentially ending recording of Turkish and Armenian (and Arabic) language domestic recording in 1919, although they kept some of the discs in print for more than a decade and occasionally produced recordings in Turkish, particularly by Greeks, notably by Achilleas Poulos.

In the early 20s, Parsekian capitalized on the expiration of patents related to the technology of disc recording, launching his own recording label and disc-manufacturing facility in what was then West Hoboken (now Union City), New Jersey, just across the river from Manhattan. Parsekian’s label issued about 40 discs between about 1923 and 1926, the first 30 of which were recorded acoustically (that is to say, mechanically, without the use of electricity or microphones). It stands to reason that Parsekian’s factory was also responsible for manufacturing recordings by other independent Armenian-owned labels that sprung up at the time, including Sohag and its Oriental subsidiary, and and the "vanity" labels of Hovep Shamlian and Harry Hasekian. (See the Canary album A Diamond Ring: Armenian-American Independent Releases ca. 1922-26) Coincident with the introduction of electrical recording, Parsekian handed off his masters and artwork to the Vartestian Brothers who ran a jewelry and watch repair shop on 3rd Avenue in Manhattan. They used much of the Parsekian catalog (as well as Mugerdich Douzjian’s Yildiz vanity label) to launch their own Pharos label, which lasted two or three more years, issuing several dozen more titles. (See the Canary album Very Sweet: Armenian-American Recordings from the Pharos Label ca. 1926-29.)

Parsekian’s flagship artist was Karekin Proodian (b. present-day Diyarbakir, ca. 1884) who recorded about half of the label’s catalog. Proodian immigrated to the U.S. in 1903 settling in the West Hoboken, New Jersey neighborhood populated by a community of others from his native region called Dikranagerd in Armenian, including Parsekian. A photoengraver by trade, he became a citizen in 1910 before returning to his hometown where he married 19 year old Haiganoush (“Annie”) Akmakjian. In 1912, the couple returned to the U.S. with their child Vahan (Frank). Two more children arrived, Siranoush (Sara) and Setrag (who later became a clarinet and saxophone player, appearing on several LPs. He published a memoir called Brothers Abroad. We are actively seeking a copy.)

Between February and December 1916, Proodian performed as a vocalist and kanunist on 18 sides for Columbia and Victor Records, all of which were in Turkish except for the revolutionary ballad “Ipreve Ardziv,” which was in Armenian. (6 of them appear on the Canary album And Two Partridges II and 4 more are on the album If I Were a Nightingale.) In the 1920s Proodian adopted the thinking of a movement among Armenians to present Anatolian music in the Armenian language advocated by the Dikranagerd-born northern New Jersey songwriter Hovsep Shamlian. When Proodian recorded again for M.G. Parsekian’s label, 18 of the 22 sides he cut were in Armenian, only 4 in Turkish.

Parsekian, Proodian, and Shamlian formed a kind of Dikranangersti musical ecosystem in West Hoboken. All three having come from the same region, each contributed his own skills. Parsekian had the record business; Proodian had the voice; Shamlian had the songs. (The rather elaborate labels on some of the discs including photos of the artists may, we can speculate, tie back to Proodian's work in the printing business.) The first two songs Proodian recorded for Parsekian’s label were not only Shamlian’s songs (including his “greatest hit,” “Hasagt Partsr”) but were also accompanied by Dikranangersti accompanists. 16 of Proodian’s 18 recordings for Parsekian in Armenian were Shamlian compositions, albeit accompanied by objectively superior musicians, Harry (Haroutiun) Hasekian of Marash on violin and Edward (Yetvart) Bashian who emigrated Constantinople on oud. Harry and Edward also released instrumental discs as a duo on the Parsekian label as well as on Hasekian’s own label, which, again, were likely produced by Parsekian. (Only the traditional folk song “Ouy Janem” and the revolutionary ballad “Keriyin Yerke” weren’t Shamlian creations.)

After Parsekian’s label was sold to Pharos company around 1926, many of Proodian’s recordings were kept in print by them for several years. Although he did not record again, he stayed active in music singing in Greek and Armenian nightclubs, coffeehouses, and restaurants on Manhattan while still working for Scientific Engraving Inc.” (later Scientific Engineering) at 406 W. 31st on Manhattan. In 1942, he copyrighted a song called “This Is Our Heaven” with lyrics translated by Joseph Stamboolian for use in a movie, although we have not yet traced the film. He died in Fort Lee, New Jersey in 1977.

Maksoud Karabed Sariyan (b. Bursa, Turkey April 17, 1897) arrived in the U.S. on Oct. 22, 1920. He recorded only six sides with clarinetist Hovsep Takakjian (b. Palu, Turkey ca. 1895), four of them for Parsekian and two of them pseudononymously as Karakash (“Black Eyebrows”) along with violinist Vartan Margosian for Margosian's label. By 1928, he had settled in Detroit where he married a Bulgarian-born woman and worked as a professional musician. He died on Jan. 10, 1946. Takakjian moved shortly after making their recordings for Parsekian to Fresno, California for his health, having contracted tuberculosis by loaning his instrument to another musician. Takakjian performed and recorded prolifically with Oscar Kevorkian for several decades. (See the Canary album The Undertaker’s Picnic: Armenian Kef Music in Fresno ca. 1940s-50s.) He died in Fresno in 1976.

The first non-Armenian to have recorded for Parsekian’s label was the Romaniote Jew Mazeltov Matsa (b. Janina, present-day Greece, 1897) who performed first under the name Amilia Hanoum and later as Amalia Bakas. A definitive biographical study was published by David Soffa on the 2002 Arhoolie label CD Amalia!: Old Greek Songs in the New Land, 1923-50 and summarized on the Canary album No News From Tomorrow: Greek and Turkish Speaking Women in New York ca. 1942-50. She was, in the mid-20s a young garment worker and mother of two in the Jewish Lower East Side moonlighting as a singer of Turkish and Greek folks songs in restaurants and coffeehouses. She cut her first five discs for Armenian-owned independent labels (three for Parsekian; two for Sohag) before an acrimonious divorce, a brief stint running her own little nightclub around the corner from Marika Papagika’s place on 8th Avenue, and then nearly 30 years on the road as a nightclub performer. She recorded for the Victor label in the late 20s (likely introduced to them by Marika Papagika with whom she became very close, George Katsaros with whom she regularly toured in the 30s, or perhaps Marko Melkon who also first recorded for Parsekian in the early 20s and then operated on the same circle of performers in the 1940s-50s.)

Likewise, Parsekian was likely the first to release discs by the Greek singer and oudist Achilleas Poulos (b. July 1893 present-day Balikesir, Turkey) a close friend of Marko Melkon (see the Canary albums of Melkon, I Go Around Drinking Raki: ca. 1942-51 and HiFi Adventures in Asia Minor) who had already cut his first disc for Parsekian accompanied by Harry and Edward. Poulos was in a fury of recording activity in the mid-20s, cutting a total of about 125 performances for Parsekian, Pharos, Columbia and Victor as well as the short-lived Oriental label (related to Sohag) between 1925 and 1927. His best-selling 12” disc for Columbia of “Nedem Geldim Americaya (Why I Came to America),” a folk song he’d rewritten about his personal experience as an immigrant, differs from his performance for Parsekian notably in that it benefits from the violin playing of Nishan Sedefjian. Sedefjian, who performs on nearly all of Poulos' Victor and Columbia material was a diamond setter at the Vartesian Brothers shop. Poulos was the lead performer on the last dozen Parsekian releases and on several of the first Pharos discs. Pharos even issued two discs of Poulos' niece Soultana when she visited from Balikesir. (See the Canary album Why I Came to America: More Folk Music of the Ottoman-American Diaspora ca. 1917-47.) It seems likely that he was the bridge between the two labels. After ’27 Poulos simply ceased recording and moved to Connecticut, where he worked at a coffee roaster and died in 1970. Like Parsekian, his influence on the scene of Turkish, Armenian, and Greek speaking immigrants in New York outlasted his activity for more than a generation.