Screenshot Through The Heart, And Richard Prince’s To Blame

Rasta.jpgBy Gwen Wei

Earlier this year, three artists separately sued appropriation careerist Richard Prince for copyright infringement. The works in question? Photographs with valid and registered copyrights—each framed in an Instagram screenshot by Prince.

Sound familiar? The incidents seem to be an ugly throwback to 2015, when Prince took screenshots of multiple photographs from the Instagram account of pin-up brand Suicide Girls, printed them, and sold each print for $90,000. But none of this is new ground for Prince. Such incidents define his forty-year career: rephotographing the photos of others, reprinting J. D. Salinger’s The Catcher in the Rye with his own name substituted for the author’s, or writing out lines out of joke books for display at art galleries.

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All Dance, No Pay Violates the Fair Labor Standards Act

Fair Wage PhotoBy Sam Daheim

On May 11, 2016, the Fourth Circuit held in McFeeley v. Jackson Street Entertainment, that exotic dancers who worked at two exotic dance clubs in Prince George’s County, Maryland, were employees of the clubs as opposed to independent contractors.  Therefore, the clubs were legally obligated to comply with the federal Fair Labor Standards Act (FLSA), and the corresponding Maryland wage and hour laws in regard to their dancers.

The plaintiffs in McFeeley were exotic dancers who worked at “Fuego” and “Extasy.”  They alleged that the clubs misclassified them as independent contractors, rather than club employees, and accordingly failed to pay them the minimum wage required by the FLSA and the Maryland Wage and Hour Law (MWHL).

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Fair Use: YouTubers Claim Copyright Infringement Lawsuit Against Them is a Goof

KleinsBy Jeff Bess

YouTube has come a long way in the decade since its founding as the Internet’s hub for one-off viral clips and cat videos. As of last month, YouTube reported that it reaches more viewers in the coveted 18-49 age group during primetime than the top ten TV shows combined. This is due in large part to the vibrant community of original content creators – some of whom individually drive enough traffic to make themselves millionaires – that host and share their videos on YouTube’s platform.

YouTube’s explosive growth as commercial and expressive medium has naturally brought with it a greater likelihood of legal disputes, particularly with respect to copyrights. Take for instance popular YouTubers Ethan and Hila Klein, the couple behind the comedy channel H3H3 Productions. They have built a following of nearly two million subscribers by making videos commenting on and making fun of other YouTubers’ videos. Continue reading

Copyright Beams: Protecting Artists Work on Social Media

KanyeBy Alex Bullock

When Kanye West announced the development of his seventh studio album in March of 2015 (what would eventually become The Life of Pablo, released earlier this year) Nick Stokes and Eric Swanson, two Portland-based artists and Kanye fans, were inspired to make something to commemorate the occasion. The result was What ‘Ye Is It?, a custom-animated calendar that features a looping animation for each day of the week, inspired by West’s collection of works. After its creation, various media outlets linked to Stokes’ and Swanson’s website (for a list of the coverage, see here).

Fast forward to June 8 of this year: Finish Line, the athletic shoe and apparel retailer, posted the animation to their Instagram account in honor of West’s 39th birthday. However, the post credited music and lifestyle magazine The FADER for the work. The FADER posted about Stokes’ and Swanson’s work on May 14, 2015, but it is not the author of the work. Even after being notified by the authors of their mistaken attribution and their unauthorized use of the work, Finish Line has not made any effort to resolve the issue.

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Is There Really An App for That?

A Review of Technology That is Intended to Help Protect Against Sexual Assault

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By Carlie Bacon

The recent case about Brock Turner sexually assaulting a woman at a Stanford party has cause major outrage and has revived an ongoing public discussion about rape culture, victim blaming, and other important issues.

There’s no doubt that sexual assault is a serious and widespread problem on college campuses and around the world.  The National Sexual Violence Resource Center states that in the U.S., 20 percent of women and about 1.4 percent of men will be raped at some point in their lives, with those numbers skyrocketing when factoring in other forms of sexual violence as well as LGBTQ people.  Incidences are probably much greater in number, as rape is the most under-reported crime.

Over the last few years, app developers and innovators believe they have devised ways to help people protect themselves against sexual assault.

Many of the recent designs are fashion-focused.  ROAR for Good is a company that has designed and marketed jewelry that is designed to reduce assaults.  The button-sized piece can be worn as a necklace pendant or as a pin.  When in need, the wearer presses a panic button that emits a loud alarm and sends distress texts with GPS location to “emergency contacts” (friends and family).

A company out of the Netherlands called Pearltect is designing jewelry that, when activated, produces an odiferous substance to deter sexual activity, and a tracking compound that can link the perpetrator to the crime scene.

Undercover Colors, a start-up comprised of North Carolina State University students, is in the process of bringing to market a nail polish that changes color when it comes into contact with common date rape drugs.  The wearer swirls a coated nail in a drink to determine if such a drug is present.

And let’s not forget the simpler, controversial, but nevertheless innovative, Rape-aXe, The “anti-rape condom” is a barbed, rubber device that women may wear to cut short an assault.

Critics voice concerns about, among other things, the effectiveness of such personal protection devices against the reality of rape: 92 percent of rapes are committed by people familiar to the victim.  Critics also argue against the innovations’ exclusiveness to people who can afford to pay.

In addition to wearable devices, personal safety apps like PanicGuard, MyForce, and OnWatchOnCampus offer various features.

India recently announced its plans to mandate technological crime prevention.  Beginning in 2017, all mobile phones in India must include a panic button.  These new phones will be pre-configured to send a distress signal to family members or the police when the user presses the power button three times in succession.  In 2018, all phones will need to be equipped with GPS.

Despite U.S. law enforcement’s research and implementation of numerous technological innovations in preventing and policing crime, it does not seem that much attention has been devoted to improving ways for the public to communicate with law enforcement.  For instance, text messaging from mobile phones has been available to the public since 1993.  Fast-forward over twenty years, and the Federal Communications Commission reports that “text-to-911” is only available in certain markets where call centers “have elected to accept emergency text messages from the public.”

While apps and gadgets can never solve the underlying issue of sexual violence, they may provide some help in preventing certain instances.  It will be interesting to see how much the public sector includes private sector innovations (even basic stuff like texting) into its crime prevention and policing repertoire.

Image source: GSU.EDU