Academic literature on the topic 'Virgin Records America'

Strumigenys margaritae Forel, 1893 (Tribe Dacetini) is a tiny predatory ant native to the New World. It is known from northern South America, Central America, Mexico, the West Indies, and the southeastern US from Texas to Florida. To evaluate the geographic range of S. margaritae, we compiled and mapped specimen records from > 200 sites. We found S. margaritae records for 38 geographic areas (countries, island groups, major islands, and US states), including several locales for which we found no previously published records: Anguilla, Barbados, Barbuda, British Virgin Islands, Dutch Caribbean, Grenada, Honduras, Nevis, Nicaragua, St Kitts, St Lucia, St Martin, Tobago, US Virgin Islands, and Venezuela.

Abstract. The 1867 Virgin Island Tsunami reached large magnitude on the coasts of the Caribbean Islands. A maximum tsunami height of 10 m was reported for two coastal locations (Deshaies and Sainte-Rose) in Guadeloupe. Modelling of the 1867 tsunami is performed in the framework of the nonlinear shallow-water theory. The directivity of the tsunami wave source in the Caribbean Sea according to the assumed initial waveform is investigated. The tsunami records at the several coastal regions in the Lesser Antilles, Virgin Islands, Puerto Rico and South America are simulated. The comparison between the computed and observed data is in reasonable agreement.

‭The Mexican Museum in San Francisco commissioned Delilah Montoya to produce a contemporary codex for the 1992 exhibition “The Chicano Codices: Encountering Art of the Americas,” which sought to critique Quincentennial observances erasing indigenous presence. The artist created a seven-page book, Codex Delilah, Six-Deer: Journey from Mexicatl to Chicana, that depicted the consequences of the initial American-European encounter, and she used the heroine Six-Deer to visually record women’s contributions to this 500-year history. In the codex’s fourth panel, Six-Deer comes across Adora-la-Conquistadora, the artist’s revisioning of the New Mexican Catholic icon of Our Lady of the Rosary, La Conquistadora, the oldest figure of Marian devotion in the United States. Six-Deer contests the designs of the Virgin, who intends to forcefully convert the native peoples of New Mexico. Rather than capitulate, Six-Deer refuses to participate in New Mexico’s Reconquista of 1692. Although Montoya appropriated La Conquistadora’s traditional sartorial splendor, she proposed an alternate reading of this Conquering Virgin. This article reads Montoya’s depiction within the dimensions of La Conquistadora’s historical, religious, cultural, and iconographic contexts.‬

Three new species, Canthonella jarmilae, Canthonella quesquaya, and Canthonella sikesi NEW SPECIES, are described from Hispaniola. New distribution records for Canthochilum taino Matthews and Canthonella parva Chapin expand the known range of these Puerto Rican Bank species to the northern Virgin Islands. Colonization by the Old World species Digitonthophagus gazella (Fabricius) on Jamaica, Hispaniola, Puerto Rico, St. Croix, St. Kitts, Montserrat and Guadeloupe is documented for the first time, and the mainland American species Pseudocanthon perplexus (LeConte) is recorded from Grand Bahama Island, a first record for the West Indies. Onthophagus albicornis Palisot de Beauvois and Onthophagus capitatus Laporte are re-elevated to full species NEW STATUS, and their allopatric distribution on Hispaniola documented. A list of the 45 known species from the Greater Antilles and Bahama Islands is included.

The genus Phragmatopoma included, until now, only four valid species with distributions in Eastern Pacific and Western Atlantic. Since most taxonomic studies of Phragmatopoma include poor and uninformative descriptions, the aim of this work was to expand previous descriptions of the sabellariids of Phragmatopoma genus from Tropical America. Sabellariids from two Mexican collections, the Reference Collection of El Colegio de la Frontera Sur, Chetumal, and Laboratorio de Sistemática de Invertebrados Marinos (LABSIM), Universidad del Mar, Puerto Ángel, were revised. Six hundred sixty-six specimens were revised, and eight species were identified. Three new species are proposed: Phragmatopoma balbinae n. sp., from southern Mexican Pacific, P. carlosi n. sp., from northern Mexican Pacific and P. villalobosi n. sp., from Pacific of Costa Rica. Another morphospecies, Phragmatopoma sp., from Pacific of Costa Rica is characterized; however, it is only one specimen. Two species, Phragmatopoma digitata and P. peruensis, previously buried in the synonyms of P. virgini (type locality: Straits of Magellan, Chile), are considered as valid species. Also, new records of P. californica and P. caudata were made in Baja California and Veracruz, respectively. Additionally, the use of standard terminology for the description of opercular paleae and chaetae is proposed.

Costistricklandia is a common, easily recognizable pentamerid brachiopod in upper Llandovery to lowest Wenlock rocks of eastern Laurentia, Avalonia and Baltica. In this paper, the poorly known Costistricklandia canadensis (Billings) is re-described from the upper Telychian Rockway Dolomite of the Niagara Escarpment, Ontario. Compared to the relatively complete record of the Stricklandia-Costistricklandia evolution in the Welsh Borderland and the Baltic region, true representatives of the Stricklandia lens lineage are sporadic in North America, including those from the Merrimack Formation of Anticosti Island, the Red Mountain Formation of Alabama, the Hopkinton Formation of Iowa, and the Nonda Formation of the northern Rocky Mountains. Although the exact mode of speciation in the Stricklandia-Costistricklandia and the Pentamerus-Pentameroides transitions remains debatable, the common association of Costistricklandia and Pentameroides make them a useful concurrent biozone for correlating middle to upper Telychian rocks of North America and Europe. Paleobiogeographically, the Pentameroides-Costistricklandia Fauna marks the third major pulse of pentamerid faunal migration between Laurentia and its adjacent paleo-plates during the Early Silurian, following the limited intercontinental dispersal of the early Llandovery Virgiana Fauna and the quasi-cosmopolitan dispersal of the middle Llandovery Pentamerus Fauna.

-Leslie G. Desmangles, Joan Dayan, Haiti, history, and the Gods. Berkeley: University of California Press, 1995. xxiii + 339 pp.-Barry Chevannes, James T. Houk, Spirits, blood, and drums: The Orisha religion in Trinidad. Philadelphia: Temple University Press, 1995. xvi + 238 pp.-Barry Chevannes, Walter F. Pitts, Jr., Old ship of Zion: The Afro-Baptist ritual in the African Diaspora. New York: Oxford University Press, 1993. xvi + 199 pp.-Robert J. Stewart, Lewin L. Williams, Caribbean theology. New York: Peter Lang, 1994. xiii + 231 pp.-Robert J. Stewart, Barry Chevannes, Rastafari and other African-Caribbean worldviews. London: Macmillan, 1995. xxv + 282 pp.-Michael Aceto, Maureen Warner-Lewis, Yoruba songs of Trinidad. London: Karnak House, 1994. 158 pp.''Trinidad Yoruba: From mother tongue to memory. Tuscaloosa: University of Alabama Press, 1996. xviii + 279 pp.-Erika Bourguignon, Nicola H. Götz, Obeah - Hexerei in der Karibik - zwischen Macht und Ohnmacht. Frankfurt am Main: Peter Lang, 1995. 256 pp.-John Murphy, Hernando Calvo Ospina, Salsa! Havana heat: Bronx Beat. London: Latin America Bureau, 1995. viii + 151 pp.-Donald R. Hill, Stephen Stuempfle, The steelband movement: The forging of a national art in Trinidad and Tobago. Philadelphia: University of Pennsylvania Press, 1995. xx + 289 pp.-Hilary McD. Beckles, Jay R. Mandle ,Caribbean Hoops: The development of West Indian basketball. Langhorne PA: Gordon and Breach, 1994. ix + 121 pp., Joan D. Mandle (eds)-Edmund Burke, III, Lewis R. Gordon ,Fanon: A critical reader. Oxford: Blackwell, 1996. xxi + 344 pp., T. Denean Sharpley-Whiting, Renée T. White (eds)-Keith Alan Sprouse, Ikenna Dieke, The primordial image: African, Afro-American, and Caribbean Mythopoetic text. New York: Peter Lang, 1993. xiv + 434 pp.-Keith Alan Sprouse, Wimal Dissanayake ,Self and colonial desire: Travel writings of V.S. Naipaul. New York : Peter Lang, 1993. vii + 160 pp., Carmen Wickramagamage (eds)-Yannick Tarrieu, Moira Ferguson, Jamaica Kincaid: Where the land meets the body: Charlottesville: University Press of Virginia, 1994. xiii + 205 pp.-Neil L. Whitehead, Vera Lawrence Hyatt ,Race, discourse, and the origin of the Americas: A new world view. Washington DC: Smithsonian Institution Press, 1995. xiii + 302 pp., Rex Nettleford (eds)-Neil L. Whitehead, Patricia Seed, Ceremonies of possession in Europe's conquest of the new world, 1492-1640. Cambridge: Cambridge University Press, 1995. viii + 199 pp.-Livio Sansone, Michiel Baud ,Etnicidad como estrategia en America Latina y en el Caribe. Arij Ouweneel & Patricio Silva. Quito: Ediciones Abya-Yala, 1996. 214 pp., Kees Koonings, Gert Oostindie (eds)-D.C. Griffith, Linda Basch ,Nations unbound: Transnational projects, postcolonial predicaments, and deterritorialized nation-states. Langhorne PA: Gordon and Breach, 1994. vii + 344 pp., Nina Glick Schiller, Cristina Szanton Blanc (eds)-John Stiles, Richard D.E. Burton ,French and West Indian: Martinique, Guadeloupe and French Guiana today. Charlottesville: University Press of Virginia; London: Macmillan Caribbean, 1995. xii + 202 pp., Fred Réno (eds)-Frank F. Taylor, Dennis J. Gayle ,Tourism marketing and management in the Caribbean. New York: Routledge, 1993. xxvi + 270 pp., Jonathan N. Goodrich (eds)-Ivelaw L. Griffith, John La Guerre, Structural adjustment: Public policy and administration in the Caribbean. St. Augustine: School of continuing studies, University of the West Indies, 1994. vii + 258 pp.-Luis Martínez-Fernández, Kelvin A. Santiago-Valles, 'Subject People' and colonial discourses: Economic transformation and social disorder in Puerto Rico, 1898-1947. Albany: State University of New York Press, 1994. xiii + 304 pp.-Alicia Pousada, Bonnie Urciuoli, Exposing prejudice: Puerto Rican experiences of language, race, and class. Boulder: Westview Press, 1996. xiv + 222 pp.-David A.B. Murray, Ian Lumsden, Machos, Maricones, and Gays: Cuba and homosexuality. Philadelphia: Temple University Press, 1996. xxvii + 263 pp.-Robert Fatton, Jr., Georges A. Fauriol, Haitian frustrations: Dilemmas for U.S. policy. Washington DC: Center for strategic & international studies, 1995. xii + 236 pp.-Leni Ashmore Sorensen, David Barry Gaspar ,More than Chattel: Black women and slavery in the Americas. Bloomington: Indiana University Press, 1996. xi + 341 pp., Darlene Clark Hine (eds)-A. Lynn Bolles, Verene Shepherd ,Engendering history: Caribbean women in historical perspective. Kingston: Ian Randle; London: James Currey, 1995. xxii + 406 pp., Bridget Brereton, Barbara Bailey (eds)-Bridget Brereton, Mary Turner, From chattel slaves to wage slaves: The dynamics of labour bargaining in the Americas. Kingston: Ian Randle; Bloomington: Indiana University Press; London: James Currey, 1995. x + 310 pp.-Carl E. Swanson, Duncan Crewe, Yellow Jack and the worm: British Naval administration in the West Indies, 1739-1748. Liverpool: Liverpool University Press, 1993. x + 321 pp.-Jerome Egger, Wim Hoogbergen, Het Kamp van Broos en Kaliko: De geschiedenis van een Afro-Surinaamse familie. Amsterdam: Prometheus, 1996. 213 pp.-Ellen Klinkers, Lila Gobardhan-Rambocus ,De erfenis van de slavernij. Paramaribo: Anton de Kom Universiteit, 1995. 297 pp., Maurits S. Hassankhan, Jerry L. Egger (eds)-Kevin K. Birth, Sylvia Moodie-Kublalsingh, The Cocoa Panyols of Trinidad: An oral record. London & New York: British Academic Press, 1994. xiii + 242 pp.-David R. Watters, C.N. Dubelaar, The Petroglyphs of the Lesser Antilles, the Virgin Islands and Trinidad. Amsterdam: Foundation for scientific research in the Caribbean region, 1995. vii + 492 pp.-Suzannah England, Mitchell W. Marken, Pottery from Spanish shipwrecks, 1500-1800. Gainesville: University Press of Florida, 1994. xvi + 264 pp.

The HBO television series The Sopranos, produced by David Chase, achieved unprecedented critical acclaim and quickly established itself on both sides of the Atlantic as cult viewing. The fourth series, shown in the UK on Channel 4 in spring 2003, had already attracted record audiences in America and received 13 Emmy Award nominations. Not surprisingly, The Sopranos has generated several web sites and a considerable amount of literature, ranging from the usual spin-offs of television series, cds, scripts, collected reviews, and a number of more academic studies ranging from cultural studies through to explorations of the psychological aspects of the programme. At least one MA has been written dealing with the portrayal of psychotherapy in this series and in films. This is not as remarkable as it might seem given that therapy is central to the whole story. The main character, Tony Soprano (played by James Gandolfini), is the head of an Italian–American family living in New Jersey. However, like his name itself, “family” has a double meaning. Tony is also the head of a Mafia-style gang of mobsters, operating a “waste management company” and night club (The Bada Bing!). The two roles of family head are explored when Tony talks (or “sings”) to a psychiatrist (in addition to his gang-land counsellors) as a result of his anxiety attacks and depression. Thus, Tony Soprano, mobster, is presented as a troubled family man – troubled by his relationships with his wife, daughter, and son, and their futures, but also troubled by business rivalries and problems that arise from the nature of his “work” and colleagues. As one commentator writes, Tony is the subject of “profound moral ambiguity” and it is his struggle to come to terms with this that makes it possible for viewers to identify with him. It is also the focus of his sessions with the therapist, Dr Melfi (played by Lorraine Bracco).

Abstract A description is provided for Eudarluca caricis. Information is included on the disease caused by the organism, its transmission, geographical distribution, and hosts. DISEASE: Hyperparasitic on rust pustules. This species has been discussed as a potential biological control agent by various authors (PELHATE, 1961, and SEBESTA, 1963, according to ERIKSSON, 1966; GONZÁLEZ & CASTELLANOS, 1978). HOSTS: On many rust species (including Kuehneola malvicola, Phakopsora gossypii, Peridermium peckii, Puccinia cynodontis, P. fimbristylidis, P. gouaniae, P. huberi, P. levis, P. liberta, P. melampodii, P. melanocephala, P. polysora, P. purpurea, P. raunkaerii, P. sorghi, P. thaliae, Puccinia sp., Uredinales fam. indet., Uredo aeschynomensis, U. kyllingiae, U. commelinae, U. costaricensis, U. phaseoli, U. setariae-italicae, U. tenuicutis) associated with the following plants: Allium ampeloprasum, A. schoenoprasum (Alliaceae), Canna coccinea, C. glauca (Cannaceae), Commelina elegans (Commelinaceae), Centaurea scabiosa, Synedrella nodiflora, Wedelia rugosa (Compositae), Carex sp., Cyperus odoratus, Cyperus sp., Eleocharis interstincta, Eleocharis sp., Fimbristylis diphylla, Kyllinga sp., Rhynchospora micrantha (Cyperaceae), Andropogon sp., Arachis hypogaea, Cynodon dactylon, Digitaria decumbens, Eriochloa polystachys, Lasiacis divaricata, Panicum maximum, P. purpurascens, P. trichoides, Paspalum plicatulum, Pennisetum purpureum, Phragmites communis, Rhynchelytrum roseum, Sorghum bicolor, S. halepense, S. vulgare, Sporobolus indicus, Tripsacum laxum, Zea mays (Gramineae), Aeschynomene americana, Inga vera, Phaseolus vulgaris (Leguminosae), Althaea rosea, Gossypium barbadense, Hibiscus syriacus (Malvaceae), Rivina humilis (Phytolaccaceae), Gouania lupuloides (Rhamnaceae), Persica vulgaris, Potentilla canadensis, P. verna (Rosaceae), Salix fragilis, S. purpurea (Salicaceae). GEOGRAPHICAL DISTRIBUTION: Ubiquitous. Records of the anamorph are as follows. AFRICA: Algeria. NORTH AMERICA: Canada, USA (NAG RAJ, 1993). CENTRAL AMERICA: American Virgin Islands (SEAVER, 1924, 1925), Cuba (COOK, 1906), Puerto Rico. SOUTH AMERICA: Argentina, Brazil. Ecuador. Venezuela (CHARDÓN & TORO, 1934). AUSTRALASIA: New Zealand. EUROPE: Austria, former Czechoslovakia, France, Germany. Records of the teleomorph are as follows. AFRICA: Ghana, Guinea, Kenya, Libya, Malawi, Nigeria, Sierra Leone, South Africa, Sudan, Tanzania, Togo, Uganda. NORTH AMERICA: USA. CENTRAL AMERICA: Costa Rica, Dominican Republic, Jamaica, Puerto Rico. SOUTH AMERICA: Argentina, Brazil, Guyana [as British Guiana], Ecuador, Venezuela (ERIKSSON, 1966). ASIA: China, India, Japan, Malaysia (including North Borneo), former USSR. AUSTRALASIA: New Caledonia, Papua New Guinea. EUROPE: Austria, Belgium, Finland, France, Germany, Sweden, Switzerland. TRANSMISSION: By air-borne conidia.

Nine Inch Nails have just released a new single; In addition to the usual formats, “The Hand That Feeds” was available for free download in Garageband format. Trent Reznor explained, “For quite some time I’ve been interested in the idea of allowing you the ability to tinker around with my tracks – to create remixes, experiment, embellish or destroy what’s there” (MacMinute 15 April 2005). Reznor invites creativity facilitated by copying and transformation. “Copy” carries connotations of unsavoury notions such as piracy, stealing, fake, and plagiarism. Conversely, in some circumstances copying is acceptable, some situations demand copying. This article examines the treatment of “copy” at the intersection of musical creativity and copyright law with regard to cover versions and sampling. Waldron reminds us that copyright was devised first and foremost with a public benefit in mind (851). This fundamental has been persistently reiterated (H. R Rep. (1909); Sen. Rep. (1909); H. R. Rep. (1988); Patterson & Lindberg 70). The law grants creators a bundle of rights in copyrighted works. Two rights implicated in recorded music are located in the composition and the recording. Many potential uses of copyrighted songs require a license. The Copyright Act 1976, s. 115 provides a compulsory licence for cover versions. In other words, any song can be covered for a statutory royalty fee. The law curtails the extent of the copyright monopoly. Compulsory licensing serves both creative and business sides of the recording industry. First, it ensures creative diversity. Musicians are free to reinterpret cultural soundtracks. Second, it safeguards the composer’s right to generate an income from his work by securing royalties for subsequent usage. Although s. 115 permits a certain degree of artistic licence, it requires “the arrangement shall not change the basic melody or fundamental character of the work”. Notwithstanding this proviso, songs can still be transformed and their meaning reshaped. Johnny Cash was able to provide an insight into the mind of a dying man through covering such songs as Nine Inch Nails’ “Hurt”, Depeche Mode’s “Personal Jesus” and Parker & Charles’ “We’ll Meet Again”. Compulsory licensing was introduced in response to a Supreme Court decision that deprived composers of royalties. Congress recognised: The main object to be desired in expanding copyright protection accorded to music has been to give to the composer an adequate return for the value of his composition, and it has been a serious and difficult task to combine the protection of the composer with the protection of the public, and to so frame an act that it would accomplish the double purpose of securing to the composer and at the same time prevent the formation of oppressive monopolies, which might be founded upon the very rights granted to the composer for the purpose of protecting his interests (H. R. Rep. (1909)). Composers exercise rights over the initial exploitation of a song. Once a recording is released, the right is curtailed to serve the public dimension of copyright. A sampler is a device that allows recorded (sampled) sounds to be triggered from a MIDI keyboard or sequencer. Samplers provide potent tools for transforming sounds – filters, pitch-shifting, time-stretching and effects can warp samples beyond recognition. Sampling is a practice that formed the backbone of rap and hip-hop, features heavily in many forms of electronic music, and has proved invaluable in many studio productions (Rose 73-80; Prendergast 383-84, 415-16, 433-34). Samples implicate both of the musical copyrights mentioned earlier. To legally use a sample, the rights in the recording and the underlying composition must be licensed. Ostensibly, acquiring permission to use the composition poses few obstacles due to the compulsory licence. The sound recording, however, is a different matter entirely. There is no compulsory licence for sound recordings. Copyright owners (usually record labels) are free to demand whatever fees they see fit. For example, SST charged Fatboy Slim $1000 for sampling a Negativland record (Negativland). (Ironically, the sample was itself an unlicensed sample appropriated from a 1966 religious recording.) The price paid by The Verve for sampling an obscure orchestral version of a Rolling Stones song was more substantial. Allan Klein owns the copyright in “The Last Time” released by The Andrew Oldham Orchestra in 1965 (American Hit Network, undated). Licence negotiations for the sample left Klein with 100% of the royalties from the song and The Verve with a bitter taste. To add insult to injury, “Bittersweet Symphony” was attributed to Mick Jagger and Keith Richards when the song was nominated for a Grammy (Superswell, undated). License fees can prove prohibitive to many musicians and may outweigh the artistic merit in using the sample: “Sony wanted five thousand dollars for the Clash sample, which … is one thousand dollars a word. In retrospect, this was a bargain, given the skyrocketing costs of sampling throughout the 1990s” (McLeod 86). Adam Dorn, alias Mocean Worker, tried for nine months to licence a sample of gospel singer Mahalia Jackson. Eventually his persistent requests were met with a demand for $10,000 in advance with royalties of six cents per record. Dorn was working with an album budget of a mere $40 and was expecting to sell 2500 copies (Beaujon 25). Unregulated licensing fees stifle creativity and create a de facto monopoly over recorded music. Although copyright was designed to be an engine of free expression1 it still carries characteristics of its monopolistic, totalitarian heritage. The decision in Bridgeport Music v. Dimension Films supported this monopoly. Judge Guy ruled, “Get a license or do not sample. We do not see this stifling creativity in any significant way” (397). The lack of compulsory licensing and the Bridgeport decision creates an untenable situation for sampling musicians and adversely impacts upon the public benefit derived from creative diversity and transformative works (Netanel 288, 331). The sobering potential for lawsuits, ruinous legal costs, injunctions, damages (to copyright owners as well as master recordings), suppresses the creativity of musicians unwilling or unable to pay licence fees (Negativland 251.). I’m a big fan of David Bowie. If I wanted to release a cover version of “Survive”, Bowie and Gabrels (composers) and BMI (publishers) could not prevent it. According the Harry Fox Agency’s online licensing system, it would cost $222.50 (US) for a licence to produce 2500 copies. The compulsory licence demands fidelity to the character of the original. Although my own individual style would be embedded in the cover version, the potential for transformation is limited. Whilst trawling through results from a search for “acapella” on the Soulseek network I found an MP3 of the vocal acapella for “Survive”. Thirty minutes later Bowie was loaded into Sonar 4 and accompanied by a drum loop and bass line whilst I jammed along on guitar and tinkered with synths. Free access to music encourages creative diversity and active cultural participation. Licensing fees, however, may prohibit such creative explorations. Sampling technology offers some truly innovative possibilities for transforming recorded sound. The Roland VariOS can pitch-eliminate; a vocal sample can be reproduced to a melody played by the sampling musician. Although the original singer’s voice is preserved the melody and characteristic nuances can be significantly altered: V-Producer’s Phrase Scope [a system software component] separates the melody from the rest of the phrase, allowing users to re-construct a new melody or add harmonies graphically, or by playing in notes from a MIDI keyboard. Using Phrase Scope, you can take an existing vocal phrase or melodic instrument phrase and change the actual notes, phrasing and vocal gender without unwanted artefacts. Bowie’s original vocal could be aligned with an original melody and set to an original composition. The original would be completely transformed into a new creative work. Unfortunately, EMI is the parent company for Virgin Records, the copyright owner of “Survive”. It is doubtful licence fees could be accommodated by many inspired bedroom producers. EMI’s reaction to DJ Dangermouse’s “Grey Album“ suggests that it would not look upon unlicensed sampling with any favour. Threatening letters from lawyers representing one of the “Big Four” are enough to subjugate most small time producers. Fair use? If a musician is unable to afford a licence, it is unlikely he can afford a fair use defence. Musicians planning only a limited run, underground release may be forgiven for assuming that the “Big Four” have better things to do than trawl through bins of White Labels for unlicensed samples. Professional bootlegger Richard X found otherwise when his history of unlicensed sampling caught up to him: “A certain major label won’t let me use any samples I ask them to. We just got a report back from them saying, ‘Due to Richard’s earlier work of which we are well aware, we will not be assisting him with any future projects’” (Petridis). For record labels “copy” equals “money”. Allan Klein did very well out of licensing his newly acquired “Bittersweet Symphony” to Nike (Superswell). Inability to afford either licences or legal costs means that some innovative and novel creations will never leave the bedroom. Sampling masterpieces such as “It Takes a Nation of Millions to Hold Us Back” are no longer cost effective (McLeod). The absence of a compulsory licence for sampling permits a de facto monopoly over recorded music. Tricia Rose notes the recording industry knows the value of “copy” (90). “Copy” is permissible as long as musicians pay for the privilege – if the resultant market for the sampling song is not highly profitable labels may decline to negotiate a licence. Some parties have recognised the value of the desire to creatively engage with music. UK (dis)band(ed) Curve posted component samples of their song “Unreadable Communication” on their website and invited fans to create their own versions of the song. All submissions were listed on the website. Although the band reserved copyright, they permitted me to upload my version to my online distribution website for free download. It has been downloaded 113 times and streamed a further 112 times over the last couple of months. The remix project has a reciprocal dimension: Creative engagement strengthens the fan base. Guitarist/programmer, Dean Garcia, states “the main reason for posting the samples is for others to experiment with something they love . . . an opportunity as you say to mess around with something you otherwise would never have access to2”. Umixit is testing the market for remixable songs. Although the company has only five bands on its roster (the most notable being Aerosmith), it will be interesting to observe the development of a market for “neutered sampling” and how long it will be before the majors claim a stake. The would-be descendants of Grand Master Flash and Afrika Bambaataa may find themselves bound by end-user licences and contracts. The notion of “copy” at the nexus of creativity and copyright law is simultaneously a vehicle for free expression and a vulgar infringement on a valuable economic interest. The compulsory licence for cover versions encourages musicians to rework existing music, uncover hidden meaning, challenge the boundaries of genre, and actively participate in culture creation. Lack of affirmative congressional or judicial interference in the current sampling regime places the beneficial aspects of “copy” under an oppressive monopoly founded on copyright, an engine of free expression. References American Hit Network. “Bittersweet Symphony – The Verve.” Undated. 17 April 2005 http://www.americanhitnetwork.com/1990/fsongs.cfm?id=8&view=detail&rank=1>. Beaujon, A. “It’s Not The Beat, It’s the Mocean.’ CMJ New Music Monthly, April 1999. EMI. “EMI and Orange Announce New Music Deal.” Immediate Future: PR & Communications, 6 January 2005. 17 April 2005 http://www.immediatefuture.co.uk/359>. H. R. Rep. No. 2222. 60th Cong., 2nd Sess. 7. 1909. H. R. Rep. No. 609. 100th Cong., 2nd Sess. 23. 1988. MacMinute. “NIN Offers New Single in GarageBand Format.” 15 April 2005. 16 April 2005 http://www.macminute.com/2005/04/15/nin/>. McLeod, K. “How Copyright Law Changed Hip Hop: An Interview with Public Enemy’s Chuck D and Hank Shocklee.” Stay Free 2002, 23 June 2004 http://www.stayfreemagazine.org/archives/20/public_enemy.html>. McLeod, K. Freedom of Expression: Overzealous Copyright Bozos and Other Enemies of Creativity. United States: Doubleday Books, 2005. Negativland. “Discography.” Undated. 18 April 2005 http://www.negativland.com/negdisco.html>. Negativland (ed.). Fair Use: The Story of the Letter U and the Numeral 2. Concord: Seeland, 2005. Netanel, N. W. “Copyright and a Democratic Civil Society.” 106 Yale L. J. 283. 1996. Patterson, L.R., and S. Lindberg. The Nature of Copyright: A Law of Users’ Rights. Georgia: U of Georgia P, 1991. Petridis, A. “Pop Will Eat Itself.” The Guardian (UK) 2003. 22 June 2004 http://www.guardian.co.uk/arts/critic/feature/0,1169,922797,00.html>. Prendergast, M. The Ambient Century: From Mahler to Moby – The Evolution of Sound in the Electronic Age. London: Bloomsbury, 2003. Rose, T. Black Noise: Rap Music and Black Culture in Contemporary America. Middletown: Wesleyan UP, 2004. Sen. Rep. No. 1108, 60th Cong., 2nd Sess. 7. 1909. Superswell. “Horror Stories.” 17 April 2005 http://www.superswell.com/samplelaw/horror.html>. Waldron, J. “From Authors to Copiers: Individual Rights and Social Values in Intellectual Property.” 68 Chicago-Kent Law Review 842, 1998. Endnotes 1 Harper & Row, Publishers, Inc. v. Nation Enterprises 471 U.S. 539, 558 (1985). 2 From personal correspondence with Curve dated 16 September 2004. Citation reference for this article MLA Style Collins, Steve. "Good Copy, Bad Copy: Covers, Sampling and Copyright." M/C Journal 8.3 (2005). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0507/02-collins.php>. APA Style Collins, S. (Jul. 2005) "Good Copy, Bad Copy: Covers, Sampling and Copyright," M/C Journal, 8(3). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0507/02-collins.php>.

Unlawful assembly accounts extracted from the Fredericksburg Mayor’s Court Order Books from 1821-1834, reveal rare glimpses of unsupervised, alleged illegal interactions between free and enslaved individuals, many of whom do not appear in other records. Authorities enforced laws banning free blacks and persons of mixed race from interacting with enslaved persons and whites at unlawful assemblies to keep peace in the town, to prevent sexual relationships between white women and free and enslaved black men, and to prevent alliance building between individuals. The complex connections necessary to arrange unlawful assemblies threatened the town’s safety with insurrection if these individuals developed radical ideas opposing the existing social order, the foundation of which was slavery. Akin to residents of areas where natural disasters like volcanoes always pose a risk of dangerous eruptions, those living in Fredericksburg lived their lives within the town slave society and its potential threats. In an area, state, and region where insurrections occurred, unlawful assembly, whether frequent or infrequent, mattered.

This chapter examines how the contingently timed and combined onslaught of Pennsylvania petroleum and the Civil War radically reoriented the possibilities and geographies of light in North America. On the eve of war, free-labor western Pennsylvania and industrial-slavery western Virginia were both poised to capture and launch fossil fuel revolutions in power and light. This chapter uses business, court, and military records along with newspapers and trade journals to explore how one of these revolutions—that based on free-labor and ownership of a mineral liquid “distilled by nature free of charge”—came to triumph over the other—that based on industrial slavery and capital-intensive coal oil—and how that triumph was understood then and subsequently as an inevitable stage of “progress.” As military clashes interrupted and destroyed turpentine camps, whaleships, and southern coal mining, the reservoirs of American light shifted their center of gravity markedly northward and westward. A period of widely increased access to illuminants, it was also a time of deepening monopoly control over the means of light. This chapter explores the centrality of political economy and organized violence to any true understanding of the histories of labor, energy, and technology.

In many parts of North America in the eighteenth century, as many as 40% of the people in a given area would move over the course of a decade, heading for frontier areas or cities where their prospects were better. Highly mobile farm families though common but are hard to trace because few names were unique. It is hard to know if a name in a new town’s records is the same person as the name in a former town. Lincoln family genealogy is useful in illustrating how moving families fared. Lincoln’s first American ancestors arrived in Hingham, Massachusetts, in 1637 and by the end of the century began to migrate, first to the Middle Colonies and later to Virginia, Kentucky, Indiana, and Illinois. They were motivated by the need for additional land for their offspring. For the most part they succeeded, although President Lincoln’s grandfather Abraham did not. He was killed by Indians, and his son Thomas, Lincoln’s father, never flourished despite multiple moves. President Lincoln gave up on farming and chose to make his living as a postmaster, lawyer, and politician.

In the spring of 1791,Waldemar joins the French colonists already at Gallipolis, Ohio Territory, hitching a ride on the boats transporting soldiers down the Ohio River to fight the Indians. He was fortunate not to continue the journey past Gallipolis, for it would culminate in the disaster known as St. Clair's Defeat, in which 97% of the Americans are killed or wounded. Unlike the other colonists, Waldemar owns no land at Gallipolis; in fact, they only thought they had ownership, having been swindled by Joel Barlow and company back in France. He is assigned to be an "Indian spy," tasked with scouring the woods daily for signs of Indian presence. Actually, the Indians intentionally spare the French but repeatedly attack the American settlers, including Daniel Boone and his family, at nearby Point Pleasant, Virginia (now West Virginia). Life is hard for Waldemar, as he waits for Charlotte to arrive. The travails of the colony are recorded in two newspaper and magazine articles the Mentelles later wrote, one of which has remained unknown to historians until now.

The introduction surveys nineteenth-century asylums. Two features are emphasized: 1) the transatlantic appeal of moral treatment and its demise in the United States after the Civil War; and 2) the refusal of most asylums to admit black patients. Advocates of moral treatment eschewed corporal punishment and sought to minimize reliance on mechanical restraint, depending instead on positive psychological inducements to inculcate temperate behavior. Most superintendents worried that the presence of black patients on the wards would denote pauper disgrace to the white public. Because the Eastern Lunatic Asylum in Virginia did accept slaves and free black patients, its records offers unique insight into the relationship between race and early psychiatry. These records are more nuanced than the proslavery publications of Samuel Cartwright. Although the inherent violence of slavery made impossible the creation of a therapeutic environment free of coercion, it is argued that the asylum simultaneously promoted patients’ rights and a medical model of suffering that was detrimental to African Americans.

This chapter reviews the archaeological record of black bears (Ursus americanus) in the southern Appalachian Mountains and adjacent Piedmont region of Virginia and North Carolina between the eleventh and eighteenth centuries to better understand Native American bear procurement and use prior to and following European colonization. A contextual study of bear remains from two sites more clearly defines the role of bear in subsistence, ritual behavior, and mortuary practices, deepening our understanding of bear-human relationships. Differences among sites in geographic location, occupation period, disposal methods, and other variables suggest changing patterns of bear use through time and space. Careful consideration of bear-human relationships reveals the many roles and multiple functions that bears and their body parts had in Native North American societies, from subsistence resource, to gifted object, marketable good, ritual offering, and political symbol, among others.

<em>Abstract.</em>—This paper analyzes historical abundances of spawning stocks of Atlantic sturgeon <em>Acipenser oxyrinchus</em> during the late nineteenth century, when peak United States harvest of Atlantic sturgeon occurred (3,200 metric tons in 1888). The advent of preparation methods for caviar, transportation networks that allowed export of caviar to Europe, improvements in fishing technology, and development of a domestic smoked sturgeon market caused rapid emergence of an Atlantic sturgeon industry after the Civil War. The industry originated and was centered in the Delaware Bay, which supported the most abundant population on the U.S. East Coast. Important fisheries also developed in the Chesapeake Bay, the Carolinas, and Georgia. Caviar was the principal marketable product of the fishery and large females were targeted, resulting in fisheries collapse at the turn of the century. No substantial resurgence of Atlantic sturgeon landings has occurred in the twentieth century. A previous analysis of U.S. Fish Commission catch and effort records for the Delaware Bay fishery provided an estimate of 180,000 females prior to 1890. The Delaware Bay abundance estimate was extrapolated to other states by calculating the mean level of each state’s contribution to U.S. yields during the period 1880–1901. This approach led to abundance estimates of 29,000 for the Southern States (North Carolina, South Carolina, Georgia, Florida), 20,000 for the Chesapeake Bay (Maryland, Virginia), 180,000 for the Delaware Bay, and 6,000 for the Hudson River (New York). Although the approaches used to estimate historical biomass and abundance contain untested assumptions and biases, the dominance of the Delaware Bay population in comparison to others is in part confirmed by the industry that developed there. Given the uncertainty in abundance estimates, conservative benchmarks are proposed of 10,000 females each, for systems that previously supported important fisheries.

This little volume has a modest, though distinctly unique, purpose—the securing of these quaint renditions of the old English and Scottish ballads for future generations; these, journeying across the seas to Virginia and the Carolinas, were later hidden away in the Kentucky hills for 150 years. They are peculiarly Anglo-American, most characteristic of the traditional history and spirit of their composers of the fourteenth, fifteenth, and sixteenth centuries, and likewise, after generations of contact, made to be a part of the blood, bone, and sinew of the settlers in the remote land. Though told in their own homely household speech and illustrative of their own crude life, withal they are poems of the highest art—because they are not artful. They have lived because they were loved, and, with this excuse for existence, they have played for ages on free, generous, and impulsive minds. This, then, becomes an immemorial record of sentiment, loyalty, principle—a conserver of their love for poetry of song. Ballads are then an immemorial record of the pure ancestry of the singer and an undoubted proof of the sturdiness and truth of song in having been sufficient for another period of long yesterdays....

In February 1937, Virginia Woolf's nephew, Julian Bell, says he will enlist to fight the fascists in the Spanish Civil War. In July 1937, war erupts between China and Japan. These outer storms, now reaching Woolf's own family circle, darken her own (deserved) high sail. America's Time magazine features Woolf on its cover, a sign of international literary fame. Due mostly to the success of The Years, Hogarth Press’ 1937 profits are unprecedented. Yet, so tossed and exposed is Woolf by the outer crises around her that she cannot savor her success. In February 1937, she reads The Final Struggle: Being Countess Tolstoy’s Diary for 1910 with Extracts from Leo Tolstoy’s Diary of the same period. She sees her own anguish in the final diaries of Leo Tolstoy and his wife. She finds there not only inner and outer wars (recorded in many diaries) but also a war fought over diaries as well.

<em>Abstract.</em>—Little information exists on temporal and spatial distributions of wild and hatch-ery-reared Atlantic sturgeon <em>Acipenser oxyrinchus oxyrinchus</em> in the Chesapeake Bay. Approximately 3,300 hatchery-reared Atlantic sturgeon comprised of two size groups were released into the Nanticoke River, a tributary of the Chesapeake Bay, on 8 July 1996. During January 1996–May 2000, 1099 Atlantic sturgeon were captured incidentally (i.e., bycatch) by commercial watermen in the Chesapeake Bay, including 420 hatchery-reared individuals. Wild and hatchery-reared Atlantic sturgeon were captured primarily in pound nets and gill nets. Biologists tagged each fish and recorded weight, length, and location of capture. Although two adults greater than 2000 mm fork length (FL) were captured in Maryland waters, wild sturgeon were primarily juveniles from Maryland and Virginia waters (415 and 259 individuals below 1000 mm FL, respectively). A growth rate of 0.565 mm/d (<EM>N </EM>= 15, SE = 0.081) was estimated for wild individuals (487–944 mm TL at release) at liberty from 30 to 622 d. The average growth of the group of hatchery-reared Atlantic sturgeon raised at 10°C exceeded that of the group raised at 17°C. Our distributional data based on capture locations are biased by fishery dependence and gear selectivity. These data are informative to managers, however, because commercial effort is widely distributed in the Chesapeake Bay, and little distributional data were available before this study.

The first recorded school shooting took place in Charlottesville, Virginia on November 12, 1840. The most recent school shooting took place on July 11, 2019 in Hartford, Connecticut. Over 500 school shootings have taken place since the Charlottesville incident. Sadly, school shootings are not an anomaly to many communities in America. Administrators, and particularly principals, are faced with significant challenges in creating an environment that is conducive to the development of a productive and safe school culture. The content of this manuscript will explore the existing administrative roles and responsibilities with respect to school safety and the implementation and supervision of those procedures. Also discussed in the manuscript will be the role that fear plays in the decision making process and how some decisions may be misplaced and could be redirected toward more favorable areas of emphasis (i.e., counseling, active supervision, alternative academic options, community outreach, and inclusive student opportunities).