Update to current version.

[text-free-culture-lessig.git] / freeculture.xml

diff --git a/freeculture.xml b/freeculture.xml
index df76ade62a4b230cbc4109ffdae58ff5fa72db20..fe850d291379df7d9bd2b55cfb222484895f00ed 100644 (file)
--- a/freeculture.xml
+++ b/freeculture.xml
@@ -6,8 +6,8 @@
   * indexterm primary
   * quotes ?
 -->
-<!DOCTYPE book PUBLIC "-//OASIS//DTD DocBook XML V4.3//EN"
-"http://www.oasis-open.org/docbook/xml/4.3/docbookx.dtd" 
+<!DOCTYPE book PUBLIC "-//OASIS//DTD DocBook XML V4.5//EN"
+"http://www.oasis-open.org/docbook/xml/4.5/docbookx.dtd" 
 [
    <!ENTITY copy "©">
    <!ENTITY translationblock "">
@@ -2809,6 +2809,7 @@ Edison to the Broadcast Flag: Mechanisms of Consent and Refusal and
 the Propertization of Copyright" (September 2002), University of
 Chicago Law School, James M. Olin Program in Law and Economics,
 Working Paper No. 159.  </para></footnote>
+<indexterm><primary>Fox, William</primary></indexterm>
 <indexterm><primary>General Film Company</primary></indexterm>
 <indexterm><primary>Picker, Randal C.</primary></indexterm>
 </para>
@@ -2846,6 +2847,9 @@ Edison's creative property.
 The record industry was born of another kind of piracy, though to see
 how requires a bit of detail about the way the law regulates music.
 </para>
+<indexterm id="idxfourneauxhenri" class='startofrange'>
+  <primary>Fourneaux, Henri</primary>
+</indexterm>
 <para>
 At the time that Edison and Henri Fourneaux invented machines
 for reproducing music (Edison the phonograph, Fourneaux the player
@@ -2875,6 +2879,7 @@ then made copies of those recordings.  Because of this gap in the law,
 then, I could effectively pirate someone else's song without paying
 its composer anything.
 </para>
+<indexterm startref="idxfourneauxhenri" class='endofrange'/>
 <para>
 The composers (and publishers) were none too happy about
 <!-- PAGE BREAK 69 -->
@@ -2945,6 +2950,7 @@ To Amend and Consolidate the Acts Respecting Copyright, 376 (prepared
 memorandum of Philip Mauro, general patent counsel of the American
 Graphophone Company Association).
 </para></footnote>
+<indexterm><primary>American Graphophone Company</primary></indexterm>
 </para>
 <para>
 The law soon resolved this battle in favor of the composer
@@ -11765,11 +11771,15 @@ in a time of such fruitful creative ferment.
 <para>
 The best responses were in the cartoons. There was a gaggle of
 hilarious images&mdash;of Mickey in jail and the like. The best, from
-my view of the case, was Ruben Bolling's, reproduced on the next
-page. The "powerful and wealthy" line is a bit unfair. But the punch
-in the face felt exactly like that.
+my view of the case, was Ruben Bolling's, reproduced on the next page
+(<xref linkend="fig-18"/>). The "powerful and wealthy" line is a bit
+unfair. But the punch in the face felt exactly like that.
 <indexterm><primary>Bolling, Ruben</primary></indexterm>
 </para>
+<figure id="fig-18">
+<title>Tom the Dancing Bug cartoon</title>
+<graphic fileref="images/18.png"></graphic>
+</figure>
 <para>
 The image that will always stick in my head is that evoked by the
 quote from <citetitle>The New York Times</citetitle>. That "grand experiment" we call the