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Interesting history of the bootleg radios (Free Radio). Some logos are really cool, the second one looks like an RKO Radio Pictures but says "Free Radio" and has a hand of an individual holding the tower... In the end of the article there is a FAIR USE message that says: "This site contains copyrighted material the use of which has not always been specifically authorized by the copyright owner. We are making such material available in our efforts to advance understanding of environmental, political, human rights, economic, democracy, scientific, and social justice issues, etc.." Isn't that what we all want?  They also make sure that they "DO NOT CONDONE ILLEGAL PIRATE HF RADIO ACTIVITY": it's better to have a legal radio station than have  "FCC KNOCKING AT YOU DOOR."

"The third single to be released was "Deer in the Headlights",[3] released on May 24, 2011 (but as an iTunes Exclusive, was made available for download the previous day). The single was announced in a different way than what is considered traditional. Starting May 16, 2011, every day of that week part of the song would be added to the sneak peek.[14] It was originally just called "New Song", and fans had to guess the new song. The first part of the song to be released were the drums, followed by the addition of bass, guitar, synthesizer, and vocals over the next four days. On the final day, the title for the song was announced." This came to mind when I read the "studio as a compositional tool." Owl City made the layers of his new song very transparent to his listeners as a way of introducing his latest song. Unfortunately links were only active for 24 hours with each instrument. So, I have nothing for you to listen to...

Interesting remix blog with a political twist. 

While it is true that oneof the goals of the Copyright Act is to discourage infringement, it is by no means the only goal of that Act. The Constitution grants to Congress the 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." U. S. Const., Art. I, § 8, cl. 8. We have often recognized the monopoly privileges that Congress has authorized, while "intended to motivate the creative activity of authors and inventors by the provision of a special reward," are limited in nature and must ultimately serve the public good. For example, in Twentieth Century Music Corp. v. Aiken, 422 U.S. 151, 156 (1975), we discussed the policies underlying the 1909 Copyright Act as follows: "The limited scope of the copyright holder's statutory monopoly . . . reflects a balance of competing claims upon the public interest: Creative work is to be encouraged and rewarded, but private motivation must ultimately serve the cause of promoting broad public availability of literature, music, and the other arts. The immediate effect of our copyright law is to secure a fair return for an `author's' creative labor. But the ultimate aim is, by this incentive, to stimulate artistic creativity for the general public good." (Footnotes omitted.) We reiterated this theme in Feist Publications, Inc. v. Rural Telephone Service Co., 499 U.S. 340, 349-350 (1991), where we said: "The primary objective of copyright is not to reward the labor of authors, but `[t]o promote the Progress of Science and useful Arts.' To this end, copyright assures authors the right to their original expression, but encourages others to build freely upon the ideas and information conveyed by a work." (Citations omitted.) Because copyright law ultimately serves the purpose of enriching the general public through access to creative works, it is peculiarly important that the boundaries of copyrigh

Mentioned in the Something Borrowed article, the United States is trying to swing that parallel imports for pharmaceuticals violates the intellectual property of the western drug producers.

interesting connection there!