Free Culture: How Big Media Uses Technology and the Law to Lock Down Culture and Control Creativity (published in paperback as Free Culture: The Nature and Future of Creativity) is a 2004 book by law professor Lawrence Lessig that was released on the Internet under the Creative Commons Attribution/Non-commercial license on March 25, 2004.

This book documents how copyright power has expanded substantially since 1974 in five critical dimensions:
duration (from 32 to 95 years),
scope (from publishers to virtually everyone),
reach (to every view on a computer),
control (including "derivative works" defined so broadly that virtually any new content could be sued by some copyright holder as a "derivative work" of something), and
concentration and integration of the media industry.

It also documents how this industry has successfully used the legal system to limit competition to the major media corporations through legal action against:
 College students for close to $100 billion, because their improvements of search engines made it easier for people in a university intranet to find copyrighted music placed by others in their "public" folder.
 Lawyers who advised MP3.com that they had reasonable grounds to believe streaming an MP3 uploaded by a customer only to computers that the customer has logged-in on for the service is legal, and
 Venture capitalists who funded Napster.

The result is a legal and economic environment that stifles "the Progress of Science and useful Arts", exactly the opposite of the purpose cited in the US Constitution. It may not be possible today to produce another Mickey Mouse, because many of its early cartoon themes might be considered "derivative works" of some existing copyrighted material (as indicated in the subtitle to the hardback edition and in numerous examples in this book).

Summary

This book is an outgrowth of the U.S. Supreme Court decision in Eldred v. Ashcroft, which Lessig lost. Article I, Section 8, Clause 8 of the U.S. Constitution says, "The Congress shall have Power... to promote the Progress of Science and useful Arts, by securing for limited Times to Authors and Inventors the exclusive Right to their respective Writings and Discoveries." Several times in the past century, Congress has extended the copyright law in several ways. One way was to extend the term "on the installment plan". Another was to broaden the scope to include not only copying but creating "derivative works". This latter broadening is so ambiguous that it provides a foundation for massive abuse of power by companies holding large copyright portfolios. For example, the Recording Industry Association of America sued a freshman at Rensselaer Polytechnic Institute (RPI) for $12,000 for improving a search engine used only inside RPI. Lessig cites another example where Fox demanded $10,000 for the rights to use a 4.5 second video clip with The Simpsons playing on a television in a corner of a scene in a documentary. Anyone producing a collage of video clips can potentially be similarly sued on the grounds the collage is a "derivative work" of something copyrighted or that the collage contains a shot that is copyrighted. Lessig argues that this substantially limits the growth of creative arts and culture, in violation of the US Constitution; the Supreme Court ruled that Congress has the constitutional authority to properly balance competing interests on cases like this.

In the preface of Free Culture, Lessig compares this book with a previous book of his, Code and Other Laws of Cyberspace, which propounded that software has the effect of law. Free Culture's message is different, Lessig writes, because it is "about the consequence of the Internet to a part of our tradition that is much more fundamental, and, as hard as this is for a geek-wanna-be to admit, much more important." (pg. xiv)

Professor Lessig analyzes the tension that exists between the concepts of piracy and property in the intellectual property realm in the context of what he calls the present "depressingly compromised process of making law" that has been captured in most nations by multinational corporations that are interested in the accumulation of capital and not the free exchange of ideas.

The book also chronicles his prosecution of Eldred and his attempt to develop the Eldred Act, also known as the Public Domain Enhancement Act or the Copyright Deregulation Act.

Lessig concludes his book by suggesting that as society evolves into an information society there is a choice to be made to decide if that society is to be free or feudal in nature. In his afterword he suggests that free software pioneer Richard Stallman and the Free Software Foundation model of making content available is not against the capitalist approach that has allowed such corporate models as Westlaw and LexisNexis to have subscribers to pay for materials that are essentially in the public domain but with underlying licenses like those created by his organization Creative Commons.

He also argues for the creation of shorter renewable periods of copyright and a limitation on derivative rights, such as limiting a publisher's ability to stop the publication of copies of an author's book on the internet for non-commercial purposes or create a compulsory licensing scheme to ensure that creators obtain direct royalties for their works based upon their usage statistics and some kind of taxation scheme such as suggested by professor William Fisher of Harvard Law School that is similar to a longstanding proposal of Richard Stallman.

Themes

Introduction and identification of a cultural shift
Lessig defines "free culture" as analogous to "free speech" – that is, unrestricted. A free culture supports and protects its creators and innovators directly and indirectly. It directly supports creators and innovators by granting intellectual property rights. It indirectly supports them by ensuring that follow-on creators and innovators remain as free as possible from the creators of the past by limiting how extensive intellectual property rights are. A "permission culture" is the opposite of a free culture; in a permission culture, creators and innovators are only able to create and innovate with the permission of creators of the past – whether they are powerful creators or not.

Lessig presents two examples that provide some insight into the nature of these dueling cultures. In the first, an example of "free culture", he describes how aircraft operators did not have to abide by an old law that land owners also owned the air above the property and thus could forbid overflight. In the second, an example of a "permission culture", he describes how David Sarnoff, president of RCA, managed to persuade the United States government to delay the deployment of the rival wideband FM radio, invented by Edwin Howard Armstrong. He describes this as an example of how the inventor of a new invention can be forced to request "permission" from a previous inventor.

The disparate features of a free culture and a permission culture affect how culture is made. In a free culture, innovators are able to create – and build upon past creations – without the worry of infringing upon intellectual property rights. In a permission culture, innovators must first request "permission" from past creators in order to build upon or modify past creations. Oftentimes, the innovator must pay the past creator in order to obtain the permission needed to proceed. If the past creator refuses to grant permission to the innovator, the past creator may appeal to the government to enforce their intellectual property rights. Typically, intellectual property rights protect culture that is produced and sold, or made to be sold. This type of culture is "commercial culture", and the focus of the law is typically on commercial creativity rather than "non-commercial activity". Initially, the law, "protected the incentives of creators by granting them exclusive rights to their creative work, so that they could sell those exclusive rights in a commercial marketplace." This protection has become far more extensive, as is evinced in the Armstrong/RCA example.

Lessig argues that the United States is rapidly becoming a permission culture, though he sees the internet as a modern-day Armstrong: it challenges the traditional innovator and seeks to break free of any permissions or strict regulations. The internet can provide a vastly more vibrant and competitive innovation culture, and this is troublesome for any large corporations that have invested in fortifying their intellectual property rights: "Corporations threatened by the potential of the internet to change the way both commercial and noncommercial culture are made and shared have united to induce lawmakers to use the law to protect them." The internet has facilitated the mass production of culture, both commercial and noncommercial. Corporations that had traditionally controlled this production have reacted by pressuring legislators to change the laws to protect their interests. The protection that these corporations seek is not protection for the creators, but rather protection against certain forms of business that directly threaten them. Lessig's worry is that intellectual property rights will not be protecting the right sort of property, but will instead come to protect private interests in a controlling way. He writes that the First Amendment protects creators against state control and copyright law, when properly balanced, protects creators against private control. Expansive intellectual property rights stands to dramatically increase all regulations on creativity in America, stifling innovation by requiring innovators to request permission prior to their creative work.

Free Culture covers the themes of piracy and property. Lessig writes at the end of the preface, "... the free culture that I defend in this book is a balance between anarchy and control. A free culture, like a free market, is filled with property. It is filled with rules of property and contract that get enforced by the state. But just as a free market is perverted if its property becomes feudal, so too can a free culture be queered by extremism in the property rights that define it."

Piracy
"How free is this culture?"
According to Lessig, the United States has been but is decreasingly a free culture. Free cultures leave content open for expansion by others. Purportedly, this is not a new practice, but one that is increasingly challenged, mostly for economic reasons by creators and industry. The conflict or "war against piracy" emerges from efforts to regulate creative property in order to delimit the use of creative property without permission. As Lessig sees it, "the law's role is less and less to support creativity, and more and more to protect certain industries against competition."

This new role of law is meant to protect copyright owners from "pirates" who share their content for free, effectively "robbing" the creator of any profit. Lessig acknowledges piracy is wrong and deserving of punishment, however he is concerned the concept, as it appears in the context of "internet piracy", has been used inappropriately. This problematic conception follows a certain chain of reasoning: creative work has value; when an individual uses, takes or builds upon someone else's creative work they are appropriating something of value from the creator. If someone appropriates something of value from a creator without the creator's expressed permission, then that someone is "pirating" the creator's work, and this is wrong. Rochelle Dreyfuss, an NYU Professor of Law, has termed this conception of piracy the "if value, then right" theory of creative property – namely, "if there is value, then someone must have a right to that value."

First defining and then pointedly critiquing a prevalent "if value, then right" notion of creative property, Lessig emphasizes that American law recognizes intellectual property as an instrument. Lessig points out that if "if value, then right" is correct, then film, recorded music, radio, and cable TV each is built on a history of piracy. Lessig details the history of these four "pirates" as examples of how pervasive has been the practice of making use of others' creative property without permission. Importantly, Lessig points out, throughout human history, "every society has left a certain bit of its culture free for the taking." This free culture has historically been deliberate, and widely appreciated. In fact, "creators here and everywhere are always and at all times building upon the creativity that went before and that surrounds them now."

Lessig goes on to suggest that the advent of the Internet has changed culture, and along with it the expectation and acceptance of creative piracy. In particular, the internet has brought about a war against piracy. At the heart of the issue is a question about the reach, benefit, and burden of copyright law. The internet challenges the "natural limit to the reach of the law", and therein lies the quandary. The presence of the internet instigates and fans the flames of the piracy war by virtue of its inherent ability to very quickly and indiscriminately spread content.

Lessig states that "even if some piracy is plainly wrong, not all 'piracy' is." Finding the balance is, has been, and needs to continue to be the process of U.S. law; internet use, as exemplified by peer-to-peer file sharing, pushes the envelope.

For centuries, copyright holders have complained about "piracy". In 1996, the American Society of Composers, Authors and Publishers (ASCAP) sued "the Girl Scouts for failing to pay for the songs that girls sang around Girl Scout campfires." The suit was a public relations disaster for ASCAP, and they dropped the suit. However, the law still remains: If you sing a copyrighted song in public, you are legally required to pay the copyright holder.

Copyright law has also been extended to threaten the very creativity that is a central value of our society, burdening it "with insanely complex and vague rules and with the threat of obscenely severe penalties." Copyright law at its birth only protected inappropriate copying. Today it also covers

"building upon or transforming that work... [W]hen the law regulates as broadly and obscurely as it does, the extension matters a lot. The burden of this law now vastly outweighs any original benefit... [T]he law's role is less and less to support creativity, and more and more to protect certain industries against competition."

Property
Lessig explains that copyright is a kind of property, but that it is an odd kind of property for which the term can sometimes be misleading – the difference between taking a table and taking a good idea, for example, is hard to see under the term 'property'. As late as 1774, publishers believed a copyright was forever. A copyright at that time was more limited than it is today, only prohibiting others from reprinting a book; it did not cover, as today, other rights over performance, derivative works, etc. Modern technology allows people to copy or cut and paste video clips in creative new ways to produce art, entertainment, and new modes of expression and communication that didn't exist before. The resulting potential for media literacy could help ordinary people not only communicate their concerns better but also make it easier for them to understand when they are being suckered into things not in their interests. However, current copyright law effectively restricts the use of this to very wealthy individuals and corporations for two reasons: (1) the vagueness of "fair use". (2) The costs of negotiating legal rights for the creative reuse of content are astronomically high. "You either pay a lawyer to defend your fair use rights or pay a lawyer to track down permissions so you don't have to rely on fair use rights."

Drawing on an argument Lessig made in Code and Other Laws of Cyberspace he applies the model of four different modalities of regulation that support or weaken a given right or regulation. The four means of regulation are law, market, architecture and norms. These four modalities constrain the target group or individual in different ways, and law tends to function as an umbrella over the other methods. These constraints can be changed, also a restriction imposed by one constraint may allow freedoms from another. Lessig maintains that before the internet these constraints remained in balance with each other in regulating copying of creative works.

However, government support of established companies with an older form of doing business would preclude innovation induced competition and overall progress. Lessig says it best ' it is the special duty of policy makers to guarantee that that protection not become a deterrent to progress' He specifies that his argument is not about justification of protection of copyrights but the effects of changing the law regarding copyright in the face of the internet. In this regard he brings the example of the unforeseen effects on the environment of using the chemical pesticide DDT despite its initial promise for commercial agriculture. Following this allusion he calls for an almost environmentalist awareness for the future of the creative environment.

Copyright has changed from covering just books, maps and charts to any work today that has a tangible form including music to architecture and drama and software. Today, it gives the copyright holder the exclusive right to publish the work and control over any copies of the work as well as any derivative work. Additionally, there is no requirement to register a work to get a copyright; it is automatic, whether or not a copy is made available for others to copy. Copyright law does not distinguish between transformative use of a work and duplication or piracy. The change in copyright scope today means law regulates publishers, users, and authors, simply because they are all capable of making copies. Before the internet, copies of any work were the trigger for copyright law, but Lessig raises the point of whether copies should always be the trigger, especially when considering the way digital media sharing works.

In 1831, the term of copyright increased from a maximum of 28 years to a maximum of 42; in 1909 the renewal term was extended from 14 years to 28. Beginning in 1962, the term of existing copyright was extended eleven times in the last 40 years. After 1976, any works created were subject to only one term of copyright, the maximum term, which was the life of the author plus fifty years, or seventy five years for corporations. According to Lessig, the public domain becomes orphaned by these changes to copyright law. In the past thirty years the average term has tripled and has gone from about 33 years to 95.

There are uses of copyrighted material that may involve copying that do not invoke copyright law; these are deemed fair uses. Fair use law denies the owner any exclusive right over such fair uses for public policy. The internet shifts the use of digital creative property, to one that is now regulated under copyright law. There is almost no use that is presumptively unregulated.

Relatively recent changes in technology and copyright law have dramatically expanded the impact of copyright in five different dimensions:

The duration increased from an average of 32.2 years to 95 (for copyrights owned by corporations) between 1974 and 2004, and it may yet be extended further, in violation of the constitutional requirement that the exclusive rights be "for limited times".
The scope has increased from regulating only publishers to now regulating just about everyone.
The reach has expanded, because computers make copies with every view, and these copies are presumptively regulated.
The control the copyright holder has over use has expanded dramatically, using the Digital Millennium Copyright Act to prosecute people with software that could defeat the limits built into the code used to distribute the product. The latter may limit how many times a person can view the material, whether copy and paste is allowed, whether and how much can be printed, and whether the copy can be loaned or given to anyone else.
Increases in the concentration and integration [of] media ownership provides unprecedented control over political discourse and the evolution of culture. "[F]ive companies control 85 percent of our media sources... [F]our companies control 90 percent of the nation's radio advertising revenues... [T]en companies control half of the nation's [newspapers]... [T]en film studios receive 99 percent of all film revenue. The ten largest cable companies account for 85 percent of all cable revenue."

Lessig argues that some of these changes benefited society as a whole. However, the combined effects of the changes in these five dimensions has been to restrict, rather than promote, the progress of science and useful arts, in apparent violation of the constitutional justification for copyright law. The negative impact on creativity can be seen in numerous examples throughout this book. An example of its impact on political discourse is the refusal by the major TV networks to run ads critical of the Bush administration's claims of Saddam Hussein's weapons of mass destruction during the period prior to the U.S. invasion of Iraq in 2003, enforced by Supreme Court decisions that give stations the right to choose what they will and will not run. Lessig claims this kind of environment is not democratic, and at no point in our history have people had fewer "legal right[s] to control more of the development of our culture than now."

Outline
The following summarizes the different sections of the book.

Preface
Lessig insists that the future of society is being threatened by recent changes in US law and administration, including decisions by the US Federal Communications Commission that allow increased Concentration of media ownership. Lessig claims to defend a free culture that is balanced between control – a culture that has property, rules, and contracts pertaining to property that are enforced by the state — and anarchy — a culture that can grow and thrive when others are allowed to use and build upon the property of others. However, this culture can become puzzling and perplexing when the extremism about property rights begins to mimic the feudal property of a free market.

Introduction
Lessig provides two examples that portray the difference between a free culture and a permissions culture — two themes that will develop throughout the book. (See Introduction and Identification of cultural Shift)

Chapter 1. Creators
Lessig devotes the first chapter to defining creators as 'copycats' who borrow and "build upon the creativity that went before and that surrounds them now... partially done without permission and without compensating the original creator." Throughout the chapter Lessig develops on a theme that "all cultures are free to some degree," by expounding on key examples from the American and Japanese cultures, namely Disney and doujinshi comics, respectively.

The first commercial success of Mickey Mouse came with Steamboat Willie, released in 1928. In part, it parodied the silent film Steamboat Bill, Jr., released earlier that year by Buster Keaton. Under current US law, Steamboat Willie might be challenged for copyright violation as a "derivative work" of Steamboat Bill, Jr. However, under copyright laws in 1928, this type of cultural production was unproblematic. This change has had a chilling effect on creativity, serving to reduce competition to the established media companies, as suggested by the subtitle to the original hardback edition of Free Culture.

Similarly, in the vigorous Japanese comic market, where "Some 40 percent of publications are comics, and 30 percent of publication revenue derives from comics", one main driving force is 'doujinshi', which is a kind of copycat technique. However, to qualify as doujinshi, "the artist must make a contribution to the art he copies... Doujinshi are plainly 'derivative works.'" The doujinshi artists almost never get the permission of those who own the works they modify, though their work is seen to contribute to the overall cultural production.

This illegal, though culturally significant, market flourishes in Japan because it helps the mainstream comic creators. The mainstream market flourishes as well despite the derivative doujinshi market. Fighting this burgeoning illegal market would spell trouble for the mainstream market as well; these two systems for creating have learned to live somewhat harmoniously with one another, to each other's benefit.

Lessig concludes with a thought that "ours was a free culture [that] is becoming much less so." So, would the US have a more vibrant industry in creating comics if the law were not used as often here to punish and intimidate small competitors to the big business producing comics?

Chapter 2. "Mere Copyists"
Chapter 2 is a discussion about the influence of technology on culture, and the legal environment that impacts its reach. Lessig recounts George Eastman's invention of Kodak as a technology that advanced the invention of photography, and brought about significant social change by giving the average citizen access to what began as an elite form of expression. Lessig traces the simultaneous legal environment that permitted its genius: Given the challenge of deciding whether photographers would need to get permission before taking aim, the legal system decided "in favor of the pirates... Freedom was the default."

Lessig presses to suggest that, had the legal atmosphere been different, "nothing like the growth in a democratic technology of expression would have been realized." Democracy of expression is a main theme for this chapter, as Lessig examines various examples of the technologies that are developed to promote so-called "media literacy", the understanding and active use of media for learning, living, and communicating in the twenty-first century; he describes media literacy as a tool for empowering minds and reversing the digital divide.

The Internet is introduced as a prime example of a technology that develops the culture. For Lessig, the Internet is a "mix of captured images, sound, and commentary [that] can be widely spread practically instantaneously." With e-mail and blogging, the Internet creates a dimension for democracy of speech that is widespread and far-reaching. Lessig's lament is that the freedom that the Internet and similar technologies offer is increasingly challenged by the restrictions that are placed upon them through laws that "close down that technology."

Chapter 3. Catalogs
In chapter 3, Lessing shares an account of Jesse Jordan, a 2002 freshman at Rensselaer Polytechnic Institute (RPI) who made a significant contribution to the free culture debate through tinkering to develop a search engine which indexed pictures, research, notes, movie clips and a variety of other RPI network materials. When the Recording Industry Association of America (RIAA) sued Jesse (and three other students) for piracy, forcing him into a settlement that cost him all of his $12,000 savings, Jesse became an activist for free culture.

Chapter 4. "Pirates"
In chapter 4 Lessig advises that "the history of the content industry is a history of piracy. Every important sector of the 'big media' today — film, records, radio, and cable TV — was born of a kind of piracy so defined." This includes the film industry of Hollywood who used piracy in order to escape the controls of Thomas Edison's patents. Similarly, the record industry grew out of piracy due to a loophole in the law permitting composers exclusivity to copies of their music and its public performance, but not over reproduction via the new phonograph and player piano technologies. Radio also grew out of piracy since the radio industry is not required to compensate recording artists for playing their works. As such, "the law gives the radio station the right to take something for nothing," though radio is required to pay the composer. Cable TV is yet another example of big media that grew out of piracy. For decades, cable companies were not required to pay for their broadcast content. As in the case with recorded music, law ultimately settled this score by setting a price at which cable companies would pay copyright holders for their content.

According to Lessig, "every industry affected by copyright today is the product and beneficiary of a certain kind of piracy... Every generation welcomes the pirates from the last... until now."

Chapter 5. "Piracy"
Lessig contextualizes piracy, noting that "even if some piracy is plainly wrong, not all 'piracy' is... Many kinds of 'piracy' are useful and productive... Neither our tradition nor any tradition has ever banned all 'piracy'."

Lessig compares the examples of piracy that were previously treated:

Bringing the discussion to an up-to-date example, Lessig gives an overview of Napster peer-to-peer (p2p) sharing and outlines benefits and harms of this kind of piracy through sharing. He cautions that laws should be tempered according to how much benefit and how harm such sharing might cause. According to Lessig, "[t]he question is a matter of balance. The law should seek that balance..."

Lessig emphasizes the role of copyright law, pointing out that as it stands, copyright law impacts all kinds of piracy, and hence is a part of the piracy war that challenges free culture. On the one hand, copyright supporters indiscriminately recognize cultural content as sharing the same attributes as tangible property. On the other hand, creators shun the notion of having their intellectual property at the disposal of pirates, and so agree to delimit commonality through strict copyright laws. Ultimately, Lessig calls for changes in US copyright law that balance the support of intellectual property with cultural freedom.

"Property"
A copyright is an odd kind of property, because it limits free use of ideas and expression. Chapters 6–9
offer four stories to help illustrate what it means to say that a copyright is property.

Chapter 6. Founders
In the majority of European countries, copyright law began with the efforts of spiritual and temporal authorities to control the production of printers. This was often done by granting monopolies. "Henry VIII granted a patent to print the bible". In England, the Crown's practice of handing out monopolies became quite unpopular and was one of the issues that motivated the English Civil War of 1642–1651.

As late as 1774, publishers believed a copyright was forever. This was in spite of the fact that "[t]he Statute of Anne [of 1710 tried to limit this by declaring] that all published works would get a copyright term of fourteen years, renewable once if the author was alive, and that all works already published... would get a single term of twenty-one additional years." (A copyright at that time was more limited than it is today, only prohibiting others from reprinting a book; it did not cover, as today, other rights over performance, derivative works, etc.) In spite of the Statute of Anne, publishers still insisted they had a perpetual copyright under common law. This claim was controversial. "Many believed the power the [publishers] exercised over the spread of knowledge was harming that spread". In 1774 the House of Lords, functioning like the Supreme Court of the United States today determined that in granting a copyright, "The state would protect the exclusive right [to publish], but only so long as it benefited society." "After 1774, the public domain was born."

Chapter 7. Recorders
A film made by Jon Else in 1990 includes a 4.5 second segment with a television in a corner playing The Simpsons. Before releasing the film, Else contacted The Simpsonss creator, Matt Groening for copyright permission. Groening agreed but asked Else to contact the producer, Gracie Films. They agreed but asked Else to contact their parent company, Fox. When he contacted Fox, someone there claimed that Groening didn't own The Simpsons, and Fox wanted $10,000 to allow him to distribute his documentary with The Simpsons playing in the background of a 4.5 second scene about something else. "Else was sure there was a mistake. He worked his way up to someone he thought was a vice president for licensing, Rebecca Herrera. She confirmed that copyright permission would cost $10,000 for that 4.5 second clip in the corner of a shot, and added, "And if you quote me, I'll turn you over to our attorneys."

 Chapter 8. Transformers
In 1993, Starwave, Inc., produced a retrospective on compact disc (CD-ROM) of the career of Clint Eastwood, who had made over 50 films as an actor and director. The retrospective included short excerpts from each of Eastwood's films. Because this was not obviously "fair use", they needed to get clear rights from anyone who might have a copyright claim to those film clips, actors, composers, musicians, etc. CD was a new technology, not mentioned in any of the original contracts with the people involved. The standard rate at that time for that kind of use of less than a minute of film was about $600. A year later, they had collected signatures from everyone they could identify in the clips they had chosen, "and even then we weren't sure whether we were totally in the clear."

Similarly, in "2003, DreamWorks Studios announced an agreement with Mike Myers and Austin Powers [to] acquire the rights to existing motion picture hits and classics, write new story-lines and — with the use of state-of-the-art digital technology — insert Myers and other actors into the film, thereby creating an entirely new piece of entertainment."

These two examples expose a major threat to the creativity of our society: Modern technology allows people to copy or cut and paste video clips in creative new ways to produce art, entertainment, and new modes of expression and communication that didn't exist before. The resulting potential for media literacy could help ordinary people not only communicate their concerns better but also make it easier for them to understand when they are being suckered into things not in their interests (as indicated in chapter 2 of this book). However, current copyright law effectively restricts the use of this to very wealthy individuals and corporations for two reasons: (1) the vagueness of "fair use". (2) The costs of negotiating legal rights for the creative reuse of content are astronomically high. "You either pay a lawyer to defend your fair use rights or pay a lawyer to track down permissions so you don't have to rely on fair use rights."

 Chapter 9. Collectors
Lessig complained, "While much of twentieth-century culture was constructed through television, only a tiny portion of that culture is available for anyone to see today." Lessig suggests that this is a violation of the spirit of the letter of the constitution: Early American copyright law required copyright owners to deposit copies of their work in libraries. "These copies were intended both to facilitate the spread of knowledge and to assure that a copy of the work would be around once the copyright expired".

However, starting with film in 1915 the government has allowed copyright holders to avoid depositing a copy permanently with the Library of Congress. As a result, most of the copyrighted material from the twentieth century is unavailable to the public in any form.

This is starting to change. In 1996 Brewster Kahle founded the Internet Archive, a non-profit digital library to provide "universal access to all knowledge".

However, congress continues to extend the copyright period. In 1790, a copyright lasted 14 years, and owners could get a 14-year extension for a fee. Since then, the copyright period was extended in 1831, 1909, 1954, 1971, 1976, 1988, 1992, 1994, and 1998. The media industry that got the previous extensions can be expected to try for yet another extension.

 Chapter 10. "Property"
Chapter 10 examines the relatively recent changes in technology and copyright law have dramatically expanded the impact of copyright in five different dimensions: Duration, Scope, Reach, Control, Concentration.

 Puzzles

 Chapter 11. Chimera
A chimera is an animal (e.g., human) with double the standard DNA formed by the fusion of two embryos. Chimeras were discovered when genetic testing of mothers failed to match the DNA of a child. Further testing revealed that the chimeric mothers had two sets of DNA.

 [In] "the copyright wars,"... we're dealing with a chimera... [I]n the battle over... "What is p2p sharing?" both sides have it right, and both sides have it wrong. One side says, "File sharing is just like two kids taping each other's records..." That's true, at least in part... But the description is also false in part... [M]y p2p network [gives anyone] access to my music... [I]t stretches the meaning of "friends" beyond recognition to say "my ten thousand best friends".

The section then goes on to describe how, according to the RIAA, downloading a CD could leave you liable for damages of one and a half million dollars. Lessig then suggests that content owners are gaining a level of control they never previously had.

 Chapter 12. Harms
In this chapter Lessig describes three consequences of what he terms a "war". This war has been launched by the content industry to protect "property".Constraining Creators: This section explores how the current law makes the use of new digital technologies, such as e-mailing a Comedy Central clips, "presumptively illegal". He goes on to describe how it is impossible to determine where the line between legal and illegal lies but that the consequences of crossing the line can be extreme, such in the case of four college students threatened with a $98 billion lawsuit by RIAA. He states "[F]air use in America simply means the right to hire a lawyer..."Constraining Innovators: In this section Lessig describes how innovators are being constrained, and amongst the examples he uses he gives the company MP3.com. In 2000 this company launched a service that would allow users to have a "lockbox" to which they could upload their music and access it anywhere. Shortly after the service was launched several major record companies sued the company and judgement was later entered for Vivendi against MP3.com. A year later Vivendi bought MP3.com. He also describes how innovators are hampered both the uncertainty in the law and the content industry's attempt to use to law to regulate the internet in an attempt to protect their interests. Also in this section he describes how, when new technologies are invented, Congress has attempted to strike a balance so as to protect these new technologies from the older ones. He suggests that this balance has now changed and uses as an example Internet radio which he suggests has been burdened by regulations and royalty payments that broadcasters have not been.Corrupting Citizens: Here Lessig describes how, according to the New York Times 43 million Americans had downloaded music in 2002, thus making 20 percent of Americans criminals.

 Balances

 Chapter 13. Eldred
This chapter summarizes Eldred v. Ashcroft. The lead petitioner, Eric Eldred, wanted to make public domain works freely available on the Internet. He was particularly interested in a work that was slated to pass into the public domain in 1998. However, the Sonny Bono Copyright Term Extension Act (CTEA) meant that this work would not be in the public domain until 2019 – and not even then if Congress extended the term again, as it had eleven times since 1962. Further extension seems likely, because it makes good business sense for organizations owning old works that still generate revenue to spend a portion of that money on campaign contributions and lobbying to extend the terms even further. "Copyrights have not expired, and will not expire, so long as Congress is free to be bought to extend them again.

Lead counsel in Eldred v. Ashcroft was Lessig. He lost this case due, he says, to a strategic blunder in arguing that repeated extensions effectively granted perpetual copyright in violation of the constitutional specification that copyrights and patents be "for limited times".

This was a high-profile case, and many different groups had filed briefs. [T]he Nashville Songwriters Association wrote that the public domain was nothing more than 'legal piracy.'" One brief "was signed by seventeen economists, including five Nobel Prize winners.

Lessig believes that if he had instead argued that this extension caused net harm to the US economy and culture, as numerous people had advised, he could have won. Lessig insists that, "The real harm is to the works that are not famous, not commercially exploited, and no longer available as a result."

The structure of current law makes it exceedingly difficult for someone who might want to do something with an old work to find the copyright owner, because no central list exists. Because these old works no longer seem commercially viable to the copyright holder, many are deteriorating. Many old "films were produced on nitrate-based stock, and nitrate stock dissolves over time. They will be gone, and the metal canisters in which they are now stored will be filled with nothing more
than dust."

 Chapter 14. Eldred II

 Conclusion
In conclusion, Lessig uses the disproportionate number of HIV and AIDS victims in Africa and other poor countries to further his argument that the current control of intellectual property—in this case, patents to HIV drugs—defy "common sense." AIDS is no longer a mortal illness for individuals who can afford between $10,000 and $15,000 per year, but few in poor countries can afford this. Lessig cites drug company lobbying in the U.S. to prevent reduced prices for their drugs in Africa, but he holds the government and society responsible for failing to "revolt" against this injustice. In 1997 the US government threatened South Africa with possible trade sanctions if it attempted to obtain the drugs at the price at which they were available in these few other poor countries. In response, Lessig calls for a "sensible patent policy" that could support the patent system but enable flexibility in distribution, a "sense of balance" he says once existed historically but has now been lost. He supports the rights of companies to charge whatever they want for innovative products, but says we need patents to encourage others to invest in the research needed to develop such products. He points out, however, that offering AIDS drugs at a much reduced price in Africa would not directly impact the profits of pharmaceutical companies.

 Afterword
In the afterword, Lessig proposes practical solutions to the dispute over intellectual property rights, in hope that common sense and a proclivity toward free culture be revived. His ideas include emulating the structure of the Creative Commons in complement to copyright; invoking more formalities for in the exercise of creativity online (marking copyrighted work, registering copyrights, and renewing claims to copyright); limiting the role of the Copyright Office in developing marking systems; shorter copyright terms (enough to incentivize creativity, but no more) and simpler language; and moving the concerns of copyright out of the purview of expensive lawyers and more into public sphere.

The balance of this book maps out what might be done about the problems described earlier. This is divided into two parts: what anyone can do now and what requires help from lawmakers.Us, Now: If current trends continue, 'cut and paste' will become 'get permission to cut and paste'.Them, Soon''': This chapter outlines five kinds of changes in law suggested by the analysis of this book.1. More Formalities: It is suggested that all copyright work should be registered so as to lower the costs involved in obtaining the rights to a work. He further suggests that until a work has a complainant copyright notice the work should be usable by anyone.2. Shorter Terms In this section it is proposed that copyright terms should be shorter. Although not suggesting an actual time Lessig does suggest four principles of any copyright term:It should be (1) short, (2) simple, (3) alive (i.e., require a renewal), and (4) prospective (i.e., do not authorize retrospective extension).3. Free Use Vs. Fair Use: Lessig suggests that what constitutes a derivative work should be narrowed.4. Liberate the Music —Again: Here Lessig argues that the law on file-sharing music should be reformed and that any reform that attempts to limit file sharing in lieu of purchasing must also ensure it does not hamper the sharing of free content. He also suggests a law should be developed that allows the sharing of music no longer available in other media but ensure artists still receive a small royalty.5. Fire Lots of Lawyers: Lessig opines that the costs involved in the legal system are too high and that it only works effectively for the top 1% and that a cheaper system would be more just.

Critical reception

 In news media
In a review in The New York Times, Adam Cohen found Free Culture to be a "powerfully argued and important analysis," where Lessig argues persuasively that we are in a crisis of cultural impoverishment. However, he says that "after taking us to this point, 300 pages into his analysis," Lessig "fails to deliver," and his proposals are both "impractical and politically unattainable."

David Post in Reason argued that Lessig shows that "free culture" has always been a part of our intellectual heritage and illuminates the tension between the already created and not yet created. Although Post generally agrees with Lessig's argument, he does point out that copyrights are property rights, arguing "property rights are, as a general rule, a good thing" and that Lessig does not do enough in his book to address this side of the debate.

 In academia
Stuart Weinstein and Charles Wild reviewed the book for the International Review of Law Computers & Technology. They wrote that Lessig's claim that "the Internet and intellectual property law are being used by powerful media forces as a tool for supressing creativity in the pursuit of pure economic benefit" is too bleak and perhaps exaggerated when it comes to the present situation, but they agreed that the trends he illustrates are real and can become increasingly problematic in the future.

Peter Decherney reviewed the book for The Moving Image: The Journal of the Association of Moving Image Archivists. He declared it "an important book for many reaadership": artists, policymakers, college students, but most importantly, film historians and archivists. He found Lessig's argument generally convincing, although perhaps a bit too pessimistic. Decherney wrote that while historically the law is slow to change, it nonetheless does change, and thanks to Lessig's commendable activism for bringing the problems with the copyright law before the public, the change may be swifter and more positive then in the past.

Michael O'Hare in his review for the Journal of Cultural Economics noted that that while the book has a few minor flaws (for example, the ebook version reviewed was a poorly formatted PDF with no hyperlinks), the work is an "extremely thoughtful and well-informed" analysis of modern state of culture and the law. For the "most distinctive contribution of the book", he singled out the argument that technology can take content or activities that were historically free (such as reading or lending) and make them subject to unfair control by the provider of new  mediums or services, therefore reducing our freedom to act.

Frederick Pinto reviewed the book for the Harvard International Review. He states that the book's "main strengths lie in its empirical richness and in Lessig's mastery at placing current legal developments in a wide historical context". He concludes that while Lessig's may be suffering from a "tunnel vision", the book "retains enough objectivity and academic rigor to make it an interesting and important read in this debate".

Julia D. Mahoney in the Virginia Law Review was more critical. She found Lessig's arguments not convincing, as according to her, our current world "is a vibrant place where technological innovation, creative endeavors, and public discussion of political issues flourish", and Lessig exaggerates the scope of the problems faced, and fails to present reasonable solutions to the issues he describes.

Lawrence B. Solum reviewed the book for Texas Law Review''. He wrote that Lessig's work is a sophisticated work, but it is should not be seen as academic book, but rather one addressed to the general audience, as next to  "deeply illuminating" arguments it also contains emotional "cheap shots" and simplifies some arguments into a black versus white situation. The book, he writes, successfully asserts: "how an excess of intellectual property can lead to results that seem silly, pernicious or wrong", how "our legal traditions actually sanction unauthorized copying", and how "the social forces that are pushing for further expansion of copyright, the big media companies, are the bad guys". He notes, however, that "what Lessig opposes is clear, but why and what he favors instead are much murkier". In the end, he concludes, the book, while obviously written to advance a particular point of view, is "a model of restraint", presenting "an account that, while opinionated, is nuanced, fair, and balanced" and calling the end result "intelligent, entertaining and moving".

Derivative works

A day after the book was released online, blogger AKMA (A. K. Adam) suggested that people pick a chapter and make a voice recording of it, partly because they were allowed to. Users who commented volunteered to narrate certain chapters. Two days later, most of the book had been narrated.

Besides audio production, this book was also translated into Chinese, a project proposed by Isaac Mao and completed as a collaboration involving many bloggers from mainland China and Taiwan. Other translations include Catalan, Czech, French, Hungarian, Italian, Polish, Portuguese and Spanish.

Editions from of SSC

Notes

External links

Official site
Multiple Formats, searchable version available online ( html, XML, opendocument ODF, PDF (landscape, portrait), plaintext, concordance ), SiSU
Free Culture lecture Flash animation, see index for alternatives: https://web.archive.org/web/20071012042349/http://www.eff.org/IP/freeculture/
 :  Transcript online interview
Lessig Speaks at Swarthmore - Professor Lessig's lecture at Swarthmore College
Collaborative Audio Book

2004 non-fiction books
Books about media bias
Works about the information economy
Economics of intellectual property
Works about intellectual property law
Copyright law literature
Books by Lawrence Lessig
Creative Commons-licensed books

Free Culture (book)


was a Japanese domain in the Edo period.  It is associated with Hizen Province in modern-day Saga Prefecture on the island of Kyūshū.

In the han system, Ogi was a political and economic abstraction based on periodic cadastral surveys and projected agricultural yields.  In other words, the domain was defined in terms of kokudaka, not land area. This was different from the feudalism of the West.

History
Ogi Domain was originally a sub-domain of the Saga Domain, founded in 1642 for Nabeshima Motoshige, the eldest son of the first daimyō of Saga Domain, Nabeshima Katsushige. Although Motoshige was the eldest son, he was displaced in the line of succession for Saga Domain by his younger half-brother, Nabeshima Tadanao, whose mother was a daughter of shōgun Tokugawa Ieyasu.

Motoshige was assigned holdings of 73,000 koku, and also served as an advisor to shōgun Tokugawa Iemitsu His son Nabeshima Naoyoshi became second daimyō of Ogi and built a fortified house ( jin'ya ) to be the domain headquarters in what is now the city of Ogi. His son, Nabeshima Mototake rose to high positions within the Tokugawa shogunate under shōgun Tokugawa Tsunayoshi; however, from his time onwards, the domain's financial situation was very severe and on the verge of bankruptcy, causing relations with the main line at Saga Domain to become increasingly strained.

During the time of Nabeshima Naotaka, Ogi Domain was finally recognized as an independent domain directly reporting to the Shōgunate, and permission was granted to erect a castle; however, the domain lacked the finances to do so.

The Boshin War of the Meiji Restoration, Nabeshima Naotora, the 11th and final daimyō, supported the Satchō Alliance was called upon to lead Ogi's forces against the Tokugawa remnants at Akita in northern Japan. For his loyalty to Emperor Meiji and efforts in the war, the revenues of Ogi Domain were raised by an additional 5,000 koku in August 1869. However, this reward was only nominal, as with the abolition of the han system less than two years later in 1871 Ogi Domain became part of the new Saga Prefecture.

Nabeshima Naotora and his heirs were granted the title of viscount (shishaku) under the kazoku peerage.

List of daimyōs
The hereditary daimyōs were head of the clan and head of the domain.

 Nabeshima clan, 1635–1868 (tozama; 52,000 koku)

{| class=wikitable
!  ||Name || Tenure || Courtesy title || Court Rank || Revenue
|-
||1||||1642–1654||Kii-no-kami || Lower 5th (従五位下) ||73,000 koku
|-
||2||||1654–1679|| Kaga-no-kami || Lower 5th (従五位下) ||73,000 koku
|-
||3||||1679–1713||Kii-no-kami || Lower 5th (従五位下) ||73,000 koku
|-
||4||||1713–1714||Kaga-no-kami || Lower 5th (従五位下) ||73,000 koku
|-
||5||||1714–1744||Kaga-no-kami || Lower 5th (従五位下) ||73,000 koku
|-
||6||||1744–1764||Kii-no-kami || Lower 5th (従五位下) ||73,000 koku
|-
||7||||1764–1794||Kaga-no-kami || Lower 5th (従五位下) ||73,000 koku
|-
||8||||1794–1804||Kii-no-kami || Lower 5th (従五位下) ||73,000 koku
|-
||9||||1804–1850||Kii-no-kami || Lower 5th (従五位下) ||73,000 koku
|-
||10||||1850–1864||Kaga-no-kami || Lower 5th (従五位下) ||73,000 koku
|-
||11||||1864–1871|| Kii-no-kami || Lower 5th (従五位下)  ||73,000 koku
|-
|}

Geography
The lands of Ogi Domain were in Ogi District and portions of Saga District and Matsuura District in Saga Prefecture.

See also
 List of Han
 Abolition of the han system

References

External links
 "Kashima" at Edo 300

Domains of Japan

Ogi Domain


Andrzej Tomasz Zapałowski (6 November 1966 in Wałbrzych, Poland) is a Polish politician and a Member of the European Parliament (MEP). He is a member of the League of Polish Families, which is a part of the Independence/Democracy Group in the European Parliament.

He is vice-chairman of the delegation to the EU-Ukraine Parliamentary Cooperation Committee and a member of the Committee on Agriculture and Rural Development. He is a substitute on the Committee on Legal Affairs. Prior to becoming a Member of the European Parliament, he was a member of the Polish Parliament from 1997 to 2001.

Andrzej Tomasz Zapałowski graduated from the Kraków School of Education in 1990 with a master's degree in history and from the Rzeszów branch of Marie Curie Skłodowska University in 1998 with a master's degree in law. He received a doctorate in 2003 from the National Defence Academy in Warsaw. He taught at Primary School No. 16 in Przemyśl from 1991 to 1996 and was the principal of that school in 1996 and 1997. In 2002 and 2003 he lectured at the Higher National Vocational School in Jarosław and held a position of a teacher for a group of schools in Przemyśl with a department for integration of the disabled. From 2003 to 2005 he was director of the Przemyśl Regional Centre for Culture, Education and Science.

From 1986 until 2001 he was a member of the Independent Polish Confederation, or Konfederacja Polski Niepodległej (KPN) in Polish. During that time he was the head of his section and a member of the Political Council.  From 2002 to 2005 he was a member of the League of Polish Families, a member of the League's provincial bureau, and a member of the League's Political Council. As a member of the Polish Parliament between 1997 and 2001, he was a Parliament Secretary, a member of the National Defence Committee, and a member of the Committee for Liaison with Poles Abroad.

External links
Official site
European Parliament biography

1966 births
Living people
League of Polish Families MEPs
MEPs for Poland 2004–2009

Andrzej Tomasz Zapałowski


Joseph James Little (June 5, 1841 – February 11, 1913) was an American printer by trade who served as a U.S. Representative from New York from 1891 to 1893, after winning a special election to fill a vacancy caused by the resignation of Roswell P. Flower.

Little was a veteran of the Civil War.

Biography
Born in Bristol, England, Little immigrated with his parents to the United States in 1846.  The family settled in Morris, New York.
He attended the common schools, was apprenticed to the local printer and entered a New York book-printing office to complete his trade.

Civil War
During the US Civil War, he served in the Union Army 1862-1864, as corporal, first sergeant, and first lieutenant.

Congress
Little was elected as a Democrat to the 52nd Congress to fill the vacancy caused by the resignation of Roswell P. Flower and served from November 3, 1891, to March 3, 1893.  He was not a candidate for renomination in 1892 to the Fifty-third Congress.

Later career
Little served as commissioner of education and president of the Board of Education of New York City.

Little began business on his own account in a small way, having for a junior partner his former employer, Mr. Rennie. A third associate joining in the venture, the three with the combined capital of $5,000 started the printing office of Little, Rennie & Co. on Broome Street, in 1867. Being practical and hard working men they made their way by inches.

In 1873, William Jennings Demorest joined the firm and brought them the printing of his fashion papers. The business finally grew quite large and in 1871 was moved to an uptown location. In his present large quarters on Astor place, they do an enormous business in the printing of books, magazines, etc., employing about 500 persons. The present title of J. J. Little & Co. was adopted in 1876.  He remained in the printing and publishing business until his death in New York City on February 11, 1913.

Death
He died on February 11, 1913, and was interred in Kensico Cemetery, Valhalla, New York.

Family
Little's son was the tennis player Raymond D. Little.

Sources

1841 births
1913 deaths
Union Army officers
Burials at Kensico Cemetery
Democratic Party members of the United States House of Representatives from New York (state)
People from Morris, New York
19th-century American politicians
American printers
19th-century American businesspeople

Joseph J. Little


DASB, also known as 3-amino-4-(2-dimethylaminomethylphenylsulfanyl)-benzonitrile, is a compound that binds to the serotonin transporter.
Labeled with carbon-11 — a radioactive isotope — it has been used as a radioligand in neuroimaging with positron emission tomography (PET) since around year 2000.
In this context it is regarded as one of the superior radioligands for PET study of the serotonin transporter in the brain,
since it has high selectivity for the serotonin transporter.

The DASB image from a human PET scan shows high binding in the midbrain, thalamus and striatum, moderate binding in the medial temporal lobe and anterior cingulate, and low binding in neocortex.
The cerebellum is often regarded as a region with no specific serotonin transporter binding and the brain region is used as a reference in some studies.

Since the serotonin transporter is the target of SSRIs used in the treatment of major depression it has been natural to examine DASB binding in depressed patients.
Several such research studies have been performed.

There are a number of alternative PET radioligands for imaging the serotonin transporter: [11C]ADAM, [11C]MADAM, [11C]AFM, [11C]DAPA,  [11C]McN5652, and [11C]-NS 4194.
A related molecule to DASB, that can be labeled with fluorine-18, has also been suggested as a PET radioligand.
With single-photon emission computed tomography (SPECT) using the radioisotope iodine-123 there are further radioligands available: [123I]ODAM, [123I]IDAM, [123I]ADAM, and [123I]β-CIT.
A few studies have examined the difference in binding between the radioligands in nonhuman primates,
as well as in pigs.

Other compounds that can be labeled to work as PET radioligands for the study of the serotonin system are, e.g., altanserin and WAY-100635.

Methodological issues

The binding potential of DASB can be estimated with kinetic modeling on a series of brain scans.

A test-retest reproducibility PET study indicates that [11C]DASB can be used to measure the serotonin transporter parameters with high reliability  in receptor-rich brain regions.

When the DASB neuroimages are analyzed the kinetic models suggested by Ichise and coworkers can be employed to estimate the binding potential.
A test-retest reproducibility experiment has been performed to evaluate this approach.

Studies
Besides the studies listed below a few occupancy studies have been reported.

References

Treatment of bipolar disorder
Nitriles
Thioethers
PET radiotracers

DASB


Shaft can refer to

 Axle, a central shaft for a rotating wheel or gear
 An architectural column's long cylindrical section
 the height of a boot
Elevator shaft
Shaft (1971 movie) or the 1971 novel on which it was based
Shaft (album), the soundtrack for the movie of the same name, recorded by Isaac Hayes
Shaft (2000 movie)
Shaft (television)
John Shaft, the title character of the above movies.
 Shaft (comics), a Marvel Comics ninja character
Shaft (band), a dance music act who scored a 1999 hit with a cover/remix of (Mucho Mambo) Sway
Shafting, illicit travelling through shafts
Shaft mining
 Pitch (vertical space), a significant underground vertical space in caving terminology
 Driveshaft, a mechanical device for transferring power from the engine or motor to the point where useful work is applied
 The part of a golf club between its head and its grip
 Penis (slang)
 a weapon in the Quake video game series
 Drive Shaft, the fictional rock band led by Charlie Pace in the TV series Lost
 Ventilation shaft
 Part of a loom
 Shaft (Castlevania), the dark priest from the Castlevania videogame series
Shaft (company), a Japanese animation company
Shaft (club), a Blues and Jazz Club in Istanbul, Turkey.

Shaft


Intake is a suburb and former village located  south-east of Sheffield city centre, South Yorkshire, England. Due to expansion during the 20th century, the village became a part of the city of Sheffield. Intake is linked to Frecheville via Birley Moor Road, and to Gleadless via Hollinsend Road.

History
Prior to the 19th century, the area was mainly farmland. The Shire Brook which flows through the south-east, originally marked the boundary between Derbyshire and Yorkshire. However, in the 20th century, many collieries were opened in the area, with coal mining being the main source of employment. In the 1870 publication Imperial Gazetteer of England and Wales by John Marius Wilson, Intake is described as being 'a village in Handsworth parish, W. R. Yorkshire; 3 miles SE of Sheffield. It stands adjacent to collieries, and has a post office under Sheffield'.

There are a number of listed buildings in the area, including the Intake Cemetery Chapel constructed in 1879, along with the surrounding walls and washhouse. The first burial at the cemetery was for a George Smith, killed at Birley Collieries on 13 January 1903.

Notable people

 Jarvis Cocker of Pulp was born in Intake.

See also
 Richmond, Sheffield

References

Villages of the metropolitan borough of Sheffield

Intake, Sheffield


When Nietzsche Wept is a 1992 novel by Irvin D. Yalom, Emeritus Professor of Psychiatry at Stanford University, an existentialist, and psychotherapist. The book takes place mostly in Vienna, Austria, in the year 1882, and relates a fictional meeting between the doctor Josef Breuer and the German philosopher Friedrich Nietzsche. The novel is a review of the history of philosophy and psychoanalysis and some of the main personalities of the last decades of the 19th century, and revolves around the topic of "limerence".

Plot

Lou Salomé, who was involved with Friedrich Nietzsche, has written a letter stating that the future of the philosophy of Germany is at stake and that Nietzsche needs help desperately. The plot develops into a therapy in which Doctor Josef Breuer needs to have his soul treated to help him get over a patient whom he treated for hysteria and with whom he has fallen in love, while Nietzsche needs help with his migraines. Influenced by the revolutionary ideas of his young disciple Sigmund Freud, Josef Breuer starts the dangerous strategy that will become the origin of psychoanalysis. Thanks to their unusual relation, both of them will see how their perspective of life changes completely. The story also explains how Friedrich Nietzsche received the inspiration to write his famous book, Thus Spoke Zarathustra.

References to famous personalities
Yalom's book is fictional but contains many references to history and historical personalities: Josef and Mathilde Breuer, Friedrich Nietzsche, Lou Salome, Sigmund Freud, Bertha Pappenheim, Paul Rée as well as mentioning Franz Overbeck, and the composer Richard Wagner.

Adaptations
In 2007 Yalom's novel received a film adaptation by the director Pinchas Perry, starring Armand Assante, Ben Cross and Katheryn Winnick. This independent American drama was filmed in Bulgaria.

There is also a theatre play based on the novel, adapted by Luciano Cazaux. The roles of Friedrich Nietzsche and Josef Breuer are performed by the actors Luciano Suardi and Claudio Da Passano. The play reflects the intellectual and philosophical atmosphere of the novel, almost dreamlike sometimes. An example of those details is that the female characters of the play wear colorful dresses, while the male characters wear black or grey suits; that is because the play tries to represent its reality from the point of view of the intellectual men of that period. The theatre play has received positive reviews in general, commending the work of the actors and actresses.

See also
When Nietzsche Wept, the film adaptation of the book
The Schopenhauer Cure

1992 American novels
American novels adapted into films
American novels adapted into plays
Novels set in Vienna
Cultural depictions of Sigmund Freud
Cultural depictions of Josef Breuer
Cultural depictions of Friedrich Nietzsche
Works about Friedrich Nietzsche
Novels about philosophers
Psychotherapy in fiction
Fiction set in 1882
Novels set in the 1880s
Basic Books books

When Nietzsche Wept (novel)


William Thomas Astbury FRS (Bill Astbury, 25 February 1898, Longton – 4 June 1961, Leeds) was an English physicist and molecular biologist.

Astbury made early X-ray diffraction studies of biological molecules. His work on keratin helped Linus Pauling discover the alpha helix. He also studied the structure for DNA in 1937 and made the first step in working out its structure.

The road to DNA
In 1937 Torbjörn Caspersson of Sweden sent him well-prepared samples of DNA from calf thymus. The fact that DNA produced a diffraction pattern showed it had a regular structure. Astbury reported that DNA's structure repeated every 2.7 nanometres and that the bases lay flat, stacked, 0.34 nanometres apart. At a symposium in 1938 at Cold Spring Harbor, Astbury pointed out that the 0.34 nanometre spacing was the same as amino acids in polypeptide chains. Actually, the spacing of the bases in the B-form of DNA is 0.332 nm.

In 1946 Astbury presented a paper at a symposium in Cambridge in which he said: "Biosynthesis is supremely a question of fitting molecules or parts of molecules against another... one of the great biological developments of our time is the realisation that probably the most fundamental interaction of all is that between the proteins and the nucleic acids". He also said that the spacing between the nucleotides and the spacing of amino acids in proteins "was not an arithmetical accident".

Astbury was unable to propose the correct structure of DNA from his data. However in 1952 Linus Pauling used Astbury's insufficient data to propose a structure for DNA, which was also incorrect. Nevertheless Astbury's work encouraged Maurice Wilkins, Raymond Gosling and Rosalind Franklin at Kings College, London. Their X-ray crystallography results were used by Francis Crick and James D. Watson to identify the structure of DNA in 1953.

References

British biophysicists
English molecular biologists
1898 births
1961 deaths
People from Staffordshire
Fellows of the Royal Society
Alumni of the University of Cambridge

William Astbury


Arnie Allen Diamond at Guv Fuller Field is a baseball venue in Falmouth, Massachusetts, home to the Falmouth Commodores of the Cape Cod Baseball League (CCBL).

History
Located in downtown Falmouth, the town athletic field was constructed in the late 1930s with assistance from the Work Projects Administration. The facility was dedicated in 1952 in honor of Elmer E. "Guv" Fuller, longtime coach and athletic director at Falmouth's Lawrence High School. Fuller, whose nickname referenced 1920s Massachusetts Governor Alvan T. Fuller, had quarterbacked Falmouth's high school football team in 1905 and 1906. He returned to his alma mater in 1926, and remained a central figure in the town's athletic programs until his retirement in 1952.

Falmouth's CCBL ballclub has called the field home since 1964, having previously played its home games at the Central Park field in Falmouth Heights. In 2004, the baseball diamond at Guv Fuller Field was named in memory of longtime Commodores' volunteer Arnie Allen. Allen began his association with the Commodores as a seven-year-old bat boy, and remained with the club for 46 seasons, serving primarily as the team's equipment manager, and receiving the league's inaugural Lifetime Achievement Award in 2002. Aging and in need of significant upgrades, the facility was awarded a field improvement grant from the Yawkey Foundation in 2006. Another round of major upgrades began in 2018.

Arnie Allen Diamond at Guv Fuller Field has hosted the CCBL all-star game festivities several times, including its first all-star game in 1966, and its most recent in 2003. The field has seen Falmouth claim six CCBL titles, including four consecutively from 1968 to 1971. The ballpark has been the summertime home of dozens of future major leaguers such as Tino Martinez, Darin Erstad, and Jacoby Ellsbury.

See also
 Cape Cod Baseball League
 Cape Cod Baseball League ballparks
 Falmouth Commodores

References

External links
Falmouth Commodores official website
Cape Cod Baseball League official website

1938 establishments in Massachusetts
Buildings and structures in Barnstable County, Massachusetts
Cape Cod Baseball League ballparks
Falmouth, Massachusetts
Sports venues completed in 1939
Tourist attractions in Barnstable County, Massachusetts

Arnie Allen Diamond


Hokey pokey is a flavour of ice cream in New Zealand, consisting of plain vanilla ice cream with small, solid lumps of honeycomb toffee. Hokey pokey is the New Zealand term for honeycomb toffee. The original recipe until around 1980 consisted of solid toffee, but in a marketing change Tip Top decided to use small balls of honeycomb toffee instead.

It is the second-most popular ice cream flavour behind vanilla in New Zealand, and is a frequently cited example of Kiwiana. It is also exported to Japan, Australia and the Pacific Islands.

Origins and etymology
The term hokey pokey has been used in reference to honeycomb toffee in New Zealand since the late 19th century. The origin of this term, in reference to honeycomb specifically, is not known with certainty, and it is not until the mid-20th century that hokey-pokey ice cream was created.

Coincidentally, "hokey pokey" was a slang term for ice cream in general in the 19th and early 20th centuries in several areas — including New York City and parts of Great Britain —  specifically for the ice cream sold by street vendors, or "hokey pokey men". The vendors, said to be mostly of Italian descent, supposedly used a sales pitch or song involving the phrase "hokey pokey", for which several origins have been suggested. One such song in use in 1930s Liverpool was "Hokey pokey penny a lump, that's the stuff to make ye jump".

The term hokey pokey likely has multiple origins. One of these is the expression "hocus-pocus", which is possibly the source of the name hokey pokey in New Zealand. As a general name for ice cream outside New Zealand, it may be a corruption of one of several Italian phrases. According to "The Encyclopedia of Food" (published 1923, New York) hokey pokey (in the U.S.) is "a term applied to mixed colors and flavors of ice cream in cake form". The Encyclopedia says the term originated from the Italian phrase oh che poco - "oh how little".  Alternative possible derivations include other similar-sounding Italian phrases: for example ecco un poco - "here is a (little) piece".

Related uses
 Hokey Pokey (The Ice Cream Man) (1975) is a song by Richard & Linda Thompson.
 Hokey Pokey is an ice cream parlour in the Prenzlauer Berg section of Berlin, Germany.

Notes

References
 The Mavens' Word of the Day: hokey
 Tracking down the origin of hokey pokey
 Longwhitekid: An Exploration of the History of Hokey Pokey Ice Cream

Flavors of ice cream
New Zealand desserts
Toffee

Hokey pokey (ice cream)


Natas is a fictional character in the DC Universe. He is a martial arts master who first appeared in Green Arrow comics. In keeping with his ultimate betrayal of Green Arrow, his name is "Satan" spelled backwards.

Fictional character biography
After Oliver Queen, the original Green Arrow, was bleeding nearly to death in the ruins of Star City (victim of a sneak attack by Merlyn the Dark Archer), Ollie, Connor Hawke, and Mia Dearden spent months training from some of the greatest fighters in the DC Universe including Natas.

To that end, Natas spends weeks beating him silly, attacking and trying to kill him, and always fighting dirty (Mia compared it to the scenes in the Pink Panther when Inspector Clouseau is attacked by Cato, except less amusing). Natas puts Ollie through a brutal trial of martial combat. Over the course of many nights, Ollie hones his body to perfection and transforms himself into a living weapon.

Later, Frederick Tuckman tells Ollie about all of the things taking place in Star City. He tells him that a quarter of the city has been turned into a ghetto and that city officials have cordoned off trouble areas by erecting a large wall.

Ollie uses Natas' resources to play the stock market, robbing several disreputable corporations of over a billion dollars. He decides that when he returns to Star City, he is going to use the money to place himself into the political sphere of influence.

Natas says goodbye to Oliver, and leaves a note behind for him, the note reading "I have sent an army to kill you". Ollie calls Connor and Mia to attention and tells them to prepare for a fight.

Natas leaves Oliver Queen and his friends with a parting gift – a squadron of some of the world's deadliest assassins – and they have all been assigned to kill him. Ollie brings all of his allied masters together inside of a cave. Before they can realize what he is doing, Ollie sets off a detonator, which seals the cave. He doesn't want to place Connor or Mia into a situation where they might have to question their principles. Ollie runs off into the night to greet his attackers.

For the next two hours, Ollie races about the island playing cat and mouse games with the hired killers. He baits several of them into any number of a series of traps, and uses their own skills and insights against them. He corrals many of them to one side of the island, then sets off another explosive charge, blocking their escape route.

Ollie finally defeats enough of the hired guns that a stalemate is called. Connor and the others manage to free themselves from the cave, and apprehend the remaining killers.

Ollie is now prepared to return to Star City, partially encouraged by a second note Natas left that leaves him a sword to include as part of his arsenal (while also asking him to remove the hat from his costume). Connor however elects to stay behind. He feels that he has more to learn and wants to spend some time with Mia. Ollie and Frederick board a yacht and return to civilization.

Meanwhile, Constantine Drakon and Deathstroke murder two prison guards and escape from Alcatraz Island. Deathstroke radios his old master, Natas, and tells him that he is free. Natas responds by indicating that he is prepared for Deathstroke to teach his last student (Green Arrow) a lesson in failure.

Other media
Natas appears as a bonus support card in Injustice: Gods Among Us.

References

See also
Oliver Queen (Green Arrow)
Deathstroke

Characters created by Judd Winick
Green Arrow characters
Comics characters introduced in 2006
DC Comics martial artists
Fictional assassins in comics
DC Comics supervillains

Natas (character)


The Nightmarist is an original graphic novel written and illustrated by Duncan Rouleau and published by Active Images in 2006.

Reception
 This is a dark fantasy that is denser and more layered than most manga, but like nothing coming out of the major U.S. comics publishers. A- -Bag and Boards, Variety.com 2006

Film
The Nightmarist has been optioned by Paramount Pictures and Duncan Rouleau has completed the script adaptation.

Notes

References

External links
 The Nightmarist at Active Images

2006 books
2006 comics debuts
American graphic novels

The Nightmarist


An antral follicle, also known as Graafian follicle and tertiary  follicle, is an ovarian follicle during a certain latter stage of folliculogenesis.

Definitions differ in where the shift into an antral follicle occurs in the staging of folliculogenesis, with some stating that it occurs when entering the secondary stage, and others stating that it occurs when entering the tertiary stage.

Appearance
The antral follicle is marked by the formation of a fluid-filled cavity adjacent to the oocyte called the antrum. The basic structure of the mature follicle has formed and no novel cells are detectable. Granulosa and theca cells continue to undergo mitosis concomitant with an increase in antrum volume. The Graaf follicle reaches its maximum diameter (20–22 mm) during ovulation. Antral follicles can attain a tremendous size that is hampered only by the availability of follicle stimulating hormone (FSH), which it is dependent on in this stage of folliculogenesis.

By command of an oocyte-secreted morphogenic gradient, the antral follicle's granulosa cells begin to differentiate themselves into four distinct subtypes: corona radiata that surrounds the zona pellucida, membrana that is interior to the basal lamina, periantral that is adjacent to the antrum, and cumulus oophorus that connects the membrana and corona radiata granulosa cells together. Each type of cell behaves differently in response to FSH.

Endocrine properties
Theca cells express receptors for luteinizing hormone (LH). LH kicks off the production of androgens by the theca cells, most notably androstenedione, which are aromatized by granulosa cells to produce estrogens, primarily estradiol. Consequently, estrogen levels begin to rise.

Antral follicle count
The antral follicle count (AFC) is the number of antral follicles, generally in both ovaries taken together if not specified otherwise. It can be determined by transvaginal ultrasonography.

A low AFC is a major factor in the diagnosis of poor ovarian reserve, that is, low fertility characterized by low numbers of remaining oocytes in the ovaries, usually accompanied by high follicle stimulating hormone (FSH) levels. Several studies show that an AFC test is more accurate than basal FSH testing for older women (< 44 years of age) in predicting IVF outcome. However, it does not appear to add any predictive information about success rates of an already established pregnancy after IVF.

It is also a major determinant of the success of ovarian hyperstimulation.

It has been suggested that counting the antral follicles measuring 2–5 or 4–6 mm in diameter is preferable. On the other hand, the number of smaller antral follicles (2–5 mm) is highly correlated with the total number of antral follicles (2–10 mm), and therefore it is suggested that counting all identifiable antral follicles of 2–10 mm in diameter would provide the most practical method for assessment of AFC in clinical practice.

Three-dimensional (3D) automated follicular tracking is a developing technique that can substantially decrease both
intra- and inter-observer variability in estimating the AFC.

References

Reproduction in mammals

Antral follicle


The Winooski Block is a historic commercial building at 1 through 17 East Allen Street  (corner of Main Street) in downtown Winooski, Vermont.  Built in 1867, it is the only major building to survive the city's urban renewal activities of the 1970s, and is a fine example of post-Civil War commercial architecture.  It was listed on the National Register of Historic Places in 1974.

Description and history
The Winooski Block is prominently situated in downtown Winooski, on the north side of East Allen Street facing Rotary Park to the south.  It occupies most of a city block bounded by East Allen and Main Streets, and Newell's and Weaver Lanes.  It is three stories in height, eighteen window bays wide and six deep, and is built out of red brick.  It is covered by a flat roof with an elaborate projecting cornice.  Windows on the upper floors are set in rectangular openings with cast iron sills and lintel caps.  The ground floor storefronts have largely been modernized, although some period details remain.

The block was built in 1867, during a post-Civil War building boom in the city.  It was designed by Warren Thayer, an architect based in Burlington, for three merchants whose retail establishments occupied its ground floor.  The third floor housed a large meeting space that was used for a variety of social purposes, including religious services, musical groups, and film screenings. Currently, there are 24 apartments in the block, with eight each (four on each floor) in the addresses of 3, 11 and 15.

See also
National Register of Historic Places listings in Chittenden County, Vermont

References

Commercial buildings on the National Register of Historic Places in Vermont
National Register of Historic Places in Chittenden County, Vermont
Buildings and structures completed in 1867
Buildings and structures in Winooski, Vermont

Winooski Block


Serge Spitzer (June 29, 1951 – September 9, 2012) was a Romanian-born American artist, known for his site-specific installations, sculpture, photographs and video.

Biography
In 1969–1972, Serge Spitzer studied at the Art Academy in Bucharest, Romania

Art career
Spitzer's work was exhibited internationally in numerous museums and art institutions, among them Folkwang Museum Essen, 1979; Museum of Modern Art, New York, 1983; Kunstmuseum, Bern, 1984 and 2006; Magasin, Grenoble, 1987; Gemeentemuseum, The Hague, 1992; Kunsthalle and Kunstverein, Düsseldorf, 1993; IVAM Centro Julio Gonzales and Centro del Carme, Valencia, 1994; Henri Moore Institute, Leeds, 1994; Westfälischer Kunstverein, Münster, 1995; Kunsthalle, Bern, 2003; Museum fur Moderne Kunst (MMK), Frankfurt, 2006; Aldrich Museum of Contemporary Art, Ridgefield, Connecticut, 2008; Palais de Tokyo, Paris, 2010 .

Spitzer participated in many international art exhibitions and biennials such as Documenta VIII, Kassel, 1987; Istanbul Biennial, 1994; Biennale de Lyon, 1997; Kwangju Biennial, 1997; Venice Biennale, 1999, Sydney Biennial, 2010.

He has contributed works to many group and thematic exhibitions curated among others by Harald Szeemann, Rene Block, Rudi Fuchs, Udo Kittelmann, David Elliott, Vicente Todoli,  Manfred Schneckenburger, Jurgen Harten, Robert Hopper, Franz Kaiser, Bernhard Fibicher, Stella Rollig, Tilman Osterwald, Heinz Liesbrock, Zdenka Badovinac, Raimund Stecker

Museum collections
Spitzer's works are represented in many public and private collections including: Brooklyn Museum, New York; Fogg Art Museum, Cambridge MA; Museum Folkwang, Essen; Haags Gemeentemuseum, The Hague; Kunstmuseum, Bern; IVAM Instituto Valenciano d'Arte Moderno, Valencia; Museum of Contemporary Art, Chicago; Musée d'Art Contemporain, Lyon;  Museum für Moderne Kunst (MMK), Frankfurt am Main; Neue Nationalgalerie, Berlin; Staatliche Museen Neue Galerie, Kassel; Staatens Museum for Kunst, Kopenhagen; Museum of Modern Art, New York; Menil Collection, Houston TX; Yale University Art Gallery, New Haven CT.

Gallery

References

External links
Serge Spitzer: Reality Models
Serge Spitzer at The Aldrich
Serge Spitzer: Molecular Istanbul, Istanbul
Serge Spitzer at NYEHAUS / Foundation 2021, New York
Serge Spitzer & Ai Wei Wei

2012 deaths
1951 births
American installation artists
Sculptors from New York (state)
Artists from Bucharest
Romanian emigrants to the United States

Serge Spitzer


Christina Olague  is a senior and housing rights advocate and an American politician. She served on the San Francisco Board of Supervisors in 2012, representing District 5, which consists of Haight-Ashbury, part of Hayes Valley, the Inner Sunset, Japantown, and the Western Addition.

Olague was appointed to the post by mayor Ed Lee in the wake of her predecessor Ross Mirkarimi's election to be sheriff of San Francisco. However, she was defeated by challenger London Breed in the San Francisco Board of Supervisors elections, 2012. She was the first openly bisexual person to serve as a San Francisco Supervisor.

Personal life
Olague grew up in a farm labor camp in California's Central Valley. The injustices she witnessed there drove her to participate in politics as a teenager, when she became involved in matters concerning immigrants, anti-war efforts, and opposition to nuclear energy.

Olague is openly bisexual.

Political career
Olague was active in the Mission Anti-Displacement Coalition in the late 1990s fighting for low income residents of the Mission. She then worked with Senior Action Network. She worked to defeat Proposition 98 the statewide measure that would have banned rent control.

Prior to her appointment to the Board of Supervisors, she served as the president of the San Francisco Planning Commission. As planning commissioner, she worked to pass laws that would stop owner move in evictions of seniors, the disabled or the terminally ill. She lost her seat as a supervisor of a progressive district to London Breed. Her loss was due primarily to her controversial vote to allow Sheriff Ross Mirkarimi to remain in office despite his pleading guilty to a domestic violence charge.

She also served on the board of LYRIC, the Lavender Youth Recreation and Information Center for LGBT youth in the Castro, and was a member of the Harvey Milk LGBT Democratic Club, and the Transit Riders Union. Olague switched from the Green Party to the Democratic Party with the election of Barack Obama.

References

Living people
San Francisco Board of Supervisors members
American LGBT city council members
LGBT people from San Francisco
Bisexual women politicians
Women city councillors in California
1961 births
California Democrats
California Greens
Housing rights activists in San Francisco
American bisexual people
21st-century American women politicians
21st-century American LGBT people

Christina Olague


Robert L. Kroon (1924, The Hague – 24 June 2007, Genolier) was a prominent Dutch journalist who reported on conflicts and other stories as a foreign correspondent from Africa, Asia and Europe for nearly 60 years.

Career
Kroon began his work for the Associated Press in the years following World War II. His first reports for the AP came in 1949 during the Indonesian war of independence against the Netherlands. Kroon was expelled from Indonesia in 1952 by the country's military for, in his own words, "'inimical reporting' about a rebellion in the Indonesian Spice Islands." (which are now known as Maluku or the Moluccas)

Kroon began reporting as a foreign correspondent for Time magazine in 1953 following his expulsion from Indonesia. He was based in Geneva, Switzerland, during this time and also reported for Dutch news media outlets while at Time. Kroon reported on several important conflicts for Time magazine. Kroon covered the 1956 Soviet invasion of Hungary and the 1968 Prague Spring uprising.  He also reported from the Belgian Congo as the colony gained its independence from Belgium in the early 1960s.

Additionally, Kroon went on to report for such major news centers as NBC and The Canadian Broadcasting Corporation,  several Dutch and Belgian radio stations, as well as Benelux television broadcasters later in his career."
Kroon always tried to work for a wide range of Dutch media while continuing to report for major international publications, according to Kroon's former boss, Dutch journalist Wibo van de Linde, who was Kroon's boss at Avro and Tros (a weekly news magazine on Dutch television) for 15 years.

Kroon continued to work as a contributor for the International Herald Tribune in Paris, France, throughout the 1990s. Kroon interviewed a wide range of political leaders and prominent entertainers throughout his career as a journalist. He counted Sukarno, Suharto, Charles de Gaulle, Frank Sinatra, Charlie Chaplin and Peter Ustinov among his most important subjects.

Recently, an endorsement by Robert L. Kroon has appeared in the book 22 Faces written by Judy Byington and published by Tate Publishing.  This book is an account of Satanic ritual abuse and claims of MKultra conspiracy theories, demonic possession and salvation from occult sacrifice by divine intervention.  The book was published long after Robert Kroon died, and many question whether Robert Kroon would endorse such a book.

Death
Kroon was diagnosed with pancreatic cancer in January 2007. He stopped his daily reporting while undergoing cancer treatment in order to finish his memoir. His memoir, written in English and entitled "A Lifetime of News" was finished shortly before his death, according to news colleagues.  The forward for his memoir was written by former Swiss President and U.N. adviser on sport, Adolf Ogi.  Ogi writes, "In this book, Bob looks back on his youth in the Netherlands under Nazi occupation, the independence of Indonesia, and his reports for a U.S. weekly from countries behind the Iron Curtain, at a time when American journalists were not welcome there." His memoir has not yet been published as of July 2007.

Kroon had reportedly been responding well to his chemotherapy treatment. However, he was admitted to hospital on 20 June 2007 and died four days later in a hospital clinic near Lake Geneva. Kroon was 82. He was survived by his son and daughter, Peter Kroon and Tesa Kroon, as well as his partner, Yvonne Kilian.

References

External links
Robert Kroon Obituary
Radio Netherlands: Witnessing the world for more than 50 years
Reporter Bob Kroon, who covered Indonesia, Congo, Hungary, Prague, dies at 82

1924 births
2007 deaths
Deaths from pancreatic cancer
Journalists from The Hague
Deaths from cancer in Switzerland
20th-century Dutch journalists
Dutch expatriates in Indonesia
Dutch expatriates in Switzerland

Robert Kroon


Universal College, formerly the Universal College of Nursing, is a school located in Parañaque, Metro Manila, Philippines. It was established in 2005.
thumb|200px|left|Universal College - Dr. A. Santos Avenue

History
Built and established in 2005, the Universal College of Nursing was founded by  Domingo Tay.  Tay wanted to address the labor demand gap both for the local and global markets. Hence, the first program became B.S. Nursing.

Tourism (BST), Hotel and Restaurant Management (BSHRM), Information System (BSIS) and Business Administration with Majors in Financial Management and Marketing (BSBA) were subsequently offered. As of 2008, all its academic programs are now recognized by the Commission on Higher Education.
To date, UC has new courses such as Bachelor of Elementary Education (BEEd), Bachelor of Secondary Education, BS Accountancy, BS Electrical Engineering, BS Computer Engineering, bs Electronics Engineering, and Short Courses such as Culinary Arts, Medical Transcription, Caregiving NC II, Certificate in Practical Nursing, Hotel and Restaurant Services, PC Operations NC II, Programming NC II, and Computer Hardware Servicing NC II.

The first batch of B.S. Nursing graduates took the Nursing board examination in June 2009 and seventeen graduates passed and took oath with the Professional Regulation Commission. .

In 2013, the UC Culinary Arts started to accept students who want to earn diploma in cooking. In 2016, with the paradigm shift in the teaching and learning process in the Basic Education Curriculum, UC  offered Senior High School (SHS) Program. The SHS program includes the Academic Track and Technical Vocational (TVL) Track. Specifically for the academics; Science Technology Engineering Mathematics (STEM) Strand, Accountancy Business Management (ABM) Strand, Humanities and Social Sciences (HUMSS) Strand, General Academic (GAS) Strand. More to, TVL track encompasses Home Economic Strand and Information and Communication Technology Strand.

Colleges
College of Nursing and Allied Health Sciences (CNAHS)
College of International Tourism and Hospitality Management (CITHM)
College of Business and Accountancy (CBA)
College of Information Technology (CIT)
College of Education (CEd)
College of Engineering and Architecture (CEA)

References

External links
Universal College Website

Education in Parañaque
Universities and colleges in Metro Manila

Universal College


The Metropolitan Baptist Church, located at 151 West 128th Street on the corner of Adam Clayton Powell Jr. Boulevard in the Harlem neighborhood of Manhattan, New York City, was originally built in two sections for the New York Presbyterian Church, which moved to the new building from 167 West 111th Street.  The chapel and lecture room were built in 1884-85 and were designed by John Rochester Thomas, while the main sanctuary was constructed in 1889-90 and was designed by Richard R. Davis, perhaps following Thomas's unused design. A planned corner tower was never built.

In 1918, the church was acquired by the Metropolitan Baptist Church, a congregation founded in 1912 which was one of the first African American congregations in Harlem. They moved to this building from the Metropolitan Baptist Tabernacle at 120 West 138th Street, which later became Liberty Hall, a focus of the Back-to-Africa movement.

The church was designated a New York City Landmark in 1981, and was listed on the National Register of Historic Places in 1982.

Description
Despite the split construction, the granite-faced building, which combines Romanesque Revival and Gothic Revival elements, holds together as a single design. The building is two and one half stories topped by a tremendous slate roof shaped as a partial cone.  The front facade features groups of stained glass, Gothic-arched lancet windows at various levels. Thin finialed towers are prominent on the west facade of the building.  The total effect is "handsome" and "monumental".

See also
List of New York City Landmarks
National Register of Historic Places listings in New York County, New York

References
Notes

External links

Metropolitan Baptist Church website

Churches in Harlem
Properties of religious function on the National Register of Historic Places in Manhattan
Gothic Revival church buildings in New York City
Churches completed in 1890
19th-century Presbyterian church buildings in the United States
Baptist churches in New York City

Metropolitan Baptist Church (New York City)


Excuse My Glove is a 1936 British comedy sports film directed by Redd Davis and starring Len Harvey, Archie Pitt and Betty Ann Davies. It was produced by Alexander Film Productions. It was shot at Elstree Studios with sets designed by the art director Andrew Mazzei.

Synopsis
A young stained glass-worker accepts accidentally a challenge to fight in a boxing booth at a fair.

Cast

 Len Harvey as Don Carter
 Archie Pitt as Bill Adams
 Betty Ann Davies as 	Ann Haydon
 Olive Blakeney as 	Aunt Fanny Stafford
 Wally Patch as Hurricane Harry
 Ronald Shiner as 	Perky Pat
 Arthur Finn as 	Madigan
 Vera Bogetti as 	Lucille
 Bobbie Comber as 	Bivex
 Don McCorkindale as Jonny Williams
 Tommy Farr as Tommy Farr
 Jimmy Wilde as 	Jimmy Wilde
 Harry Mizler as 	Harry Mizler
 Billy Wells as Billy Wells
 Dave McCleave as Dave McCleave
 Gunner Moir as Gunner Moir
 Walter Roy as 	Landlord
 Andre Lenglet as 	Andre Lenglet - French Heavyweight
 Pancho Villar as 	Pancho Villar
 Frank Hough as 	Frank Hough
 George Daly as 	George Daly
 Benny Caplan as Benny Caplan
 Maurice Strickland as Maurice Strickland
 Ted Broadribb as 	Ted Broadribb
 Jimmy Butler as Jimmy Butler
 Moss De Young as Moss De Young
 Syd Hulls as Syd Hull
 Johnny Rice as Johnny Rice
 Matt Wells as 	Matt Wells
 Ian Fleming as 	Boxing Match Commentator
 John Turnbull as 	Boxing Promoter

See also
 List of boxing films

References

External links

 Excuse My Glove at the British Film Institute

1936 films
1930s sports comedy films
British black-and-white films
Films directed by Redd Davis
British sports comedy films
British boxing films
1936 comedy films
Films shot at Rock Studios
1930s English-language films
1930s British films
English-language sports comedy films

Excuse My Glove