Australian Music Label Liberation Fights Harvard Professor Lawrence Lessig Over Copyright

The CBGB Music & Film Festival Announces The Official 2013 Film Lineup

Unfortunately it doesnt feel new. Like FutureSex and the first 20/20 album, the songs on 2 of 2 are long, but they arent as entertaining or as cohesive as his first effort. Some tracks sound like leftovers from past recording sessions, and dare we say it actually drag on. The album starts on the wrong note with Gimme What I Dont Know (I Want) and the nine-minute True Blood, both up-tempo songs that lack that Timberlake-esque spark and swag. The lead single, the disco number Take Back the Night, might be good for mere mortal pop stars, but compared to Timberlakes own lofty standards, disappoints. A better choice would have been the Drake-assisted Cabaret, which is smooth and has an addictive hook. Not all of 2 of 2 should be dismissed: You Got It On is soft slow jam listen and youll feel like youre on a cloud. And the midtempo Drink You Away is the discs most adventurous offering. It doesnt sound like anything else on the album: Its guitar driven with a strong backbeat, with a raw quality that makes it a bit indescribable and exhilarating. The multitalented Timberlake, one of a few who could get away with releasing two albums in a year (were still mad at One Direction for trying that that), is releasing dense music when most Top 40 listeners have short attention spans. The album runs 74 minutes, and the average song is six minutes. Thats not to say Timberlake shouldnt challenge listeners with his music he did it magically with the electro-pop flavor of FutureSex before dance music made its comeback, and 20/20 did not conform to radio standards either.

Markets open in 1 hr 19 mins The CBGB Music & Film Festival Announces The Official 2013 Film Lineup BROADWAY IDIOT Featuring Green Day’s Billie Joe Armstrong and The Long Awaited CBGB Film Open This Year’s Festival Press Release: The CBGB Music & Film Festival 25 minutes ago Print NEW YORK, Oct. 2, 2013 /PRNewswire/ –The CBGB Music & Film Festival has announced the 2013 official film lineup, which will feature over 60 feature films and shorts including world and US premieres mixed in with shorts, fan favorites and a wide selection of music driven movies. The fest will kick off with BROADWAY IDIOT (a documentary following Green Day’s Billie Joe Armstrong and the making of his Broadway bound American Idiot) and the highly anticipated US theatrical premiere of the feature film, CBGB. “We have taken a big step into the future with this year’s unique selection of films,” states Film Festival Director, Joe Amodei. “We have secured over 25 U.S. and World Premieres in addition to including a selection of shorts for the first time. Our film selections will showcase a solid mix of music genres including rock, bluegrass, pop and folk, while also exploring the foreign music culture of countries such as Brazil, Italy, London, Australia and the underground punk scenes in Montreal and Toronto. We have also brought back some fan favorites and a host of films that have never played to NYC audiences.” “The CBGB Music & Film Festival aims to become the largest international film festival in the world for premiering and showcasing movies and shorts that focus exclusively on music.” Said CBGB Music & Film Festival executive producer Tim Hayes. “No other major film festival in the county provides such a large platform for music based movies and there is no better place than New York City to do it.” The CBGB Film Festival is a five-day festival/conference that will take place from Wednesday, October 9 to Sunday, October 13. The fest will premiere an estimated 60 feature films and shorts, featuring Q&A sessions with directors, producers and actors. For the complete list of films and schedules please go to the festival website at cbgb.com: THE 2013 CBGB FILM FESTIVAL LINE UP CAN BE VIEWED HERE: For inquiries regarding the 2013 CBGB Film Festival, please contact: Daniela Sapkar / 646.644.4418 For inquiries regarding the 2013 CBGB Music Festival, please contact: Rey Roldan / 862.234.0801

The initial complaint was lodged on August 22, 2013. Professor Lessig has been supported by the San Francisco-based Electronic Frontier Foundation lobby group, which said legal action was taken to “[ask] a federal judge in Massachusetts to rule that the video is lawful fair use, to stop Liberation Music from making further legal threats, and to award damages”. Daniel Nazer from EFF said the case would determine whether the increasing use of automated detection processes was stifling legitimate fair uses of copyrighted material, particularly in the United States. He said there had been a spike in the volume of automatically generated take-down notices in the past year, which was concerning “because fair use is fundamental to freedom of expression in the US”. A partner at King & Wood Mallesons in Australia, John Swinson, said this case would help determine if copyright owners were now “over-reaching or just enforcing their rights”. “Computer-generated notices are a very blunt instrument and now we have a copyright expert taking on the computer to see whether the blunt instrument needs to be refined to have actual human involvement in the process,” Mr Swinson said. The US has much broader “fair use” allowances than Australia. However, the Australian Law Reform Commission was considering the fair use exception as part of its current review of Australia’s copyright and the digital economy laws. A copy of an automatically generated email sent by Liberation to Professor Lessig confirms it orders YouTube to automatically block any videos that uses its songs. Some record companies choose to take a small licence fee or let a song’s popularity spread without restrictions. Liberation Music specialises in distributing Australian artists, but its subsidiary Liberator Music holds the rights for Phoenix in Australia and New Zealand. Liberator also owns the rights to Phoenix’s back catalogue through a deal with the Glassnote Group.

Iris Van Herpen makes some music in conceptual ready-to-wear debut

By Associated Press, PARIS If clothes could make music, what would they sound like? This was the abstract question that Iris Van Herpen better known for her couture creations answered during her official Paris debut in ready-to-wear. Monday’s Photos of the day Van Herpen used state-of-the-art technology to stage an evocative underground performance, deep inside David Lynchs Paris nightclub, Silencio, where models writhed against each other clad in dark shimmering dresses with touch-sensitive electronic chips inside sinewy ribs on the material. Caressing each other in scenes that could have been lifted from a Lynch film, the models touches sent out audio signals to the DJ booth in the club, producing a macabre electronic musical aria that resonated around the rooms. The atmosphere nicely complemented the darkness of the looks, which featured a great techno-fabric on a cropped jacket and cross-over dress that gave off a watery, metallic sheen. Guests including Tilda Swinton sat around metal benches around the dimly lit nightclub floor and looked on in curiosity. My boyfriend is a musician, and makes a piece music for each dress I design … Now Ive started to imagine music and a sound for each dress I make, so I wanted to explore this, said the 29-year-old designer, whos dressed singers such as Lady Gaga and Bjork in her couture designs. A black skeletal sheath made of leather had the dark, organism-like feel of her exaggerated couture creations, but with a simpler silhouette that fits more to the body. My couture is similar to the ready-to-wear, because it comes from the same heart, Van Herpen said. With only 16 looks on display, next time it would be nice to see the talented designer broaden her repertoire with a larger collection. ___ Thomas Adamson can be followed at Twitter.com/ThomasAdamsonAP Copyright 2013 The Associated Press. All rights reserved.