Queen stars Roger Taylor and Brian May open a new London exhibition of memorabilia to mark the band’s 40th anniversary, and call the experience “moving”.

Visit link:
Queen stars launch ‘moving’ show

Queen stars Roger Taylor and Brian May open a new London exhibition of memorabilia to mark the band’s 40th anniversary, and call the experience “moving”.

Read this article:
Queen stars launch ‘moving’ show

A teenager who was beaten and cut by her father after she refused to marry a man in Pakistan, has spoken to Newsbeat about her experience.

Read more:
VIDEO: Teen’s forced marriage nightmare

I wonder if co-authors Scott Turow, Paul Aiken, and James Shaipro managed to retain copyright in their New York Times op-ed lamenting the decline of copyright and stressing the relationship between intellectual property rights and the creation of intellectual property. I bet they didn’t. Unless Turow receives special famous author treatment, I bet they had to give the Times all intellectual property rights in their op-ed as a condition of publication. The standard New York Times freelance contract that I encountered some years ago required me to surrender all rights to every article I had written in the past for the Times and might write in the future. Surrendering a copyright is like surrendering a child to adoption: You surrender all rights of custody and control over your work. I declined to sign in exchange for a paltry payment and the presumed thrill of seeing my byline in the New York Times and stopped writing for that august publication, but I suspect I was in a tiny minority. The Times was hardly alone in treating freelancers like serfs. Publications routinely and successfully demand that freelancers give up all rights in their work in order to be published; online publications generally expect you to give up your intellectual property rights for free, instead of for the usual pittance. ( The Atlantic , which, in my experience treats writers with respect, is an exception, which is why my posts appear here.) Why not give in and give up all rights in your work? Surrendering a copyright is like surrendering a child to adoption: You surrender all rights of custody and control over your work. In fact, it’s no longer your work; it’s the property of the publication. You may not recycle, reprint it, or quote extensively from it in violation of fair use without the publication’s permission. The publication’s employees (editors) may rewrite what was once your work without your permission, altering your perspective as well as your language, including or omitting your byline at their discretion. Usually they disavow any intent to substantively alter your work, but I am always wary of people who make non-negotiable demands for rights they claim to have no intention of exercising. (When confronted with these contracts, I almost always offer publishers a perpetual license to reprint my work for free, but they almost always demand all rights, including the unilateral right to alter it, as well.) As a general rule, federal law locates intellectual property rights in the creators of intellectual property, which essentially means that absent an express surrender of copyright, publishers have no rights to a freelancer’s work, other than the right to its initial publication. What would New York Times editorial writers say about a corporation that required its consultants to cede all their rights under federal law as a condition of employment? I once posed that question to the Times , naturally to no avail. Media companies guard the sanctity of their own copyrights but tend to treat other people’s copyrights with a mixture of acquisitiveness and contempt. When editors at the Times publish an op-ed stressing the cultural value of copyright protections, it’s probably not your copyrights they have in mind.

Original post:
Copyrights and Copywrongs

A father reports on, and a son describes, the experience of schizophrenia.

Go here to read the rest:
Two Voices

Calling all underwater and Sanctum fans! The James Cameron-produced underwater 3D adventure will be in theaters soon and to help you

For most of the past 20 years I have served on selection committees for the Rhodes Scholarship. In general, the experience is an annual reminder of the tremendous promise of America’s next generation. We interview the best graduates of U.S. universities for one of the most prestigious honors that…

Here is the original post:
Our superficial scholars

Many people up and down the UK have been experiencing travel problems in the cold snap, but for some the experience has been more extreme.

Here is the original post:
Snow woe: Stuck on a train for 10 hours

Jeremy Paxman meets Grant, one of the inmates in High Down prison in Surrey, and asks to him about his experience of being incarcerated.

Follow this link:
Paxman in prison: Meeting the inmates

Mysticism and skeletons collide in a Reykjavik designer and illustrator’s work For a slightly more sinister take on tribalism, Icelandic renaissance woman Harpa Einarsdottir (better known by her valiant design pseudonym Ziska Zun) is a wildly imaginative illustrator, stylist, fashion designer, multimedia artist and farmer. While her mediums vary, her cosmic style fascinatingly blends the Day of the Dead icon, La Calavera Catrina, and elements of a warrior princess. Ziska describes her recent solo exhibition ” Skulls & Halos “—a darkly psychedelic display of illustrations and painted bones—as “all about our endless inner fight between right and wrong. We all carry some old skeletons in our closet and some get too heavy, it’s my way to find inner balance and say farewell to the past, make peace with myself and carry on in my way to become a better person.” The tension between her more macabre impulses and her manipulation of them makes for enigmatic depictions that speak to her theatricality and rich fantasy life. Putting the experience from her former fashion line Starkillers to use, Ziska spent the past four years designing costumes and characters for the online role-playing game World of Darkness and films, also finding time to freelance as a stylist for magazine photo shoots. She explains “It’s good to be able to have variety in creation and do different projects, it’s a freedom that I want to hold on to as best as I can.” When asked where she sees herself in five years, Ziska tells us she tries “not to think about that too much, life goes in mysterious ways, I just want to have fun and be good one week at a time.” Photos by Craig Thomas

Read more from the original source:
Ziska Zun

In new books, Alain de Botton investigates the life of airports and Tony Hiss explores the experience of traveling.

Read more:
Books of The Times: The Inner Lives of Airports and Those Who Wander Through Them

A greaser-inspired Milanese salon you wouldn’t mind getting stuck in your hair Named for a ’50s brand of pomade, Gum is a trio of hairstylists playing off the gravity-defying greaser hairstyles to come up with looks suited for the modern man. The salon, located in Milan’s fashionable Ticinese area, mixes the old-school aesthetic and vintage furnishings with quality cuts and clever ‘dos that go far beyond the rockabilly pompadour. The stylists each focus on their individual talents—with Alice scheduling appointments, Stefano cutting hair and Monica applying color, Gum tailors each style for each client’s hair type. Through collaborations with photographers and make-up artists, Gum has steadily built a large presence in the fashion and music industries in the few years since it opened. On a recent visit to Gum, I couldn’t have been more satisfied with the experience. A cozy atmosphere, no more than two customers at once, a welcome drink, wi-fi—not to mention dedicated time for choosing the right style and a head massage with perfumed balms—Gum provides an altogether deep, personal and flawless experience.

Read the original:
Gum Salon

Lee Westwood says his experience could be crucial as the European team bid to win back the Ryder Cup from the United States at Celtic Manor.

Read more:
Westwood wants to lead from front

Photographers-turned-truckers peek into America’s trucking subculture At the height of the U.S. financial crisis, husband-and-wife photographers Frank Tribble and Tracey Mancenido packed up their NYC apartment and hit the road to document one of the more obscure necessities of American consumerism first-hand. Armed with little more than a commercial license, tips from Tribble’s truck driver dad and a few large-format cameras, the dynamic artists embarked on their new career as truckers. The resulting body of work, a series of tenderly contemplative portraits and still-lifes, opens 9 September 2010 at NYC’s Sasha Wolf Gallery , revealing a rarely-seen side of the greasy culture responsible for supplying the country with everything from scrap metal to Toy Story 3 dolls. Inspired by the contrasting loneliness of their experience, Mancenido and Tribble’s stark images depict subjects removed from their familiar contexts and (more often than not) plopped right in the center of the frame. In one a mechanic sits cross-legged in a vast gravel lot, while another shows a hulking white pillar in one of the caves where they delivered shipments. To see the haunting pictures in person, visit the Sasha Wolf gallery before the show closes 23 October 2010. For a limited sneak peek, check out the gallery .

See the article here:
Hurry Up and Wait

Robots write your messages in light over Trafalgar Square An upcoming collaboration between revered German automaker Audi and Swedish-German design firm Kram/Weisshaar turns London’s Trafalgar Square into an interactive message center. Called Outrace , the installation uses eight industrial robots from Audi’s production line to deliver messages sent from people around the world as 3D lighting graphics. Part of the nine-day London Design Festival the concept invites visitors to log on to the project website with any mobile device or computer to take part. Like Nike’s massive ” Write The Headline ” campaign that took over the fa