Introduce –.

diff --git a/freeculture.xml b/freeculture.xml
index b981a74c0d0b9335168322cfd996fb1ace14b197..418dac9cb282c0b7f4006c96a5776a1596c40213 100644 (file)
--- a/freeculture.xml
+++ b/freeculture.xml
@@ -10,8 +10,8 @@
 <!DOCTYPE book PUBLIC "-//OASIS//DTD DocBook XML V4.2//EN"
 "http://www.oasis-open.org/docbook/xml/4.2/docbookx.dtd" 
 [
 <!DOCTYPE book PUBLIC "-//OASIS//DTD DocBook XML V4.2//EN"
 "http://www.oasis-open.org/docbook/xml/4.2/docbookx.dtd" 
 [

-   <!ENTITY copy "©"> 
-   <!ENTITY translationblock ""> 
+   <!ENTITY copy "©">
+   <!ENTITY translationblock "">

 ]>
 <!--
 -->
 ]>
 <!--
 -->


@@ -446,7 +446,7 @@ Notes Toward a Cultural Geography of Authorship," Stanford Law
                Review
 48 (1996): 1293, 1333. See also Paul Goldstein, Real Property 
                (Mineola,
                Review
 48 (1996): 1293, 1333. See also Paul Goldstein, Real Property 
                (Mineola,

-N.Y.: Foundation Press, 1984), 1112­13.
+N.Y.: Foundation Press, 1984), 1112&ndash;13.

 </para></footnote>
 </para>
 </blockquote>
 </para></footnote>
 </para>
 </blockquote>


@@ -723,7 +723,7 @@ publication, but also a privacy interest. By granting authors the exclusive
 right to first publication, state copyright law gave authors the power to
 control the spread of facts about them. See Samuel D. Warren and Louis
 D. Brandeis, "The Right to Privacy," Harvard Law Review 4 (1890): 193,
 right to first publication, state copyright law gave authors the power to
 control the spread of facts about them. See Samuel D. Warren and Louis
 D. Brandeis, "The Right to Privacy," Harvard Law Review 4 (1890): 193,

-198­200.
+198&ndash;200.

 </para></footnote>
 This is also, of
 course, an important part of creativity and culture, and it has become
 </para></footnote>
 This is also, of
 course, an important part of creativity and culture, and it has become


@@ -847,7 +847,7 @@ Yet the law's response to the Internet, when tied to changes in the
 technology of the Internet itself, has massively increased the effective
 regulation of creativity in America. To build upon or critique the 
                culture
 technology of the Internet itself, has massively increased the effective
 regulation of creativity in America. To build upon or critique the 
                culture

-around us one must ask, Oliver Twist­like, for permission first.
+around us one must ask, Oliver Twist&ndash;like, for permission first.

 Permission is, of course, often granted&mdash;but it is not often granted to
 the critical or the independent. We have built a kind of cultural 
                nobility;
 Permission is, of course, often granted&mdash;but it is not often granted to
 the critical or the independent. We have built a kind of cultural 
                nobility;


@@ -1200,7 +1200,7 @@ wonderful! And it was something new!<footnote><para>
 <!-- f1 -->
 Leonard Maltin, Of Mice and Magic: A History of American Animated 
                Cartoons
 <!-- f1 -->
 Leonard Maltin, Of Mice and Magic: A History of American Animated 
                Cartoons

-(New York: Penguin Books, 1987), 34­35.
+(New York: Penguin Books, 1987), 34&ndash;35.

 </para></footnote>
 </para>
 </blockquote>
 </para></footnote>
 </para>
 </blockquote>


@@ -1827,7 +1827,7 @@ do the capturing.<footnote><para>
 See Melville B. Nimmer, "The Right of Publicity," Law and Contemporary
 Problems 19 (1954): 203; William L. Prosser, "Privacy," California Law 
                Review
 See Melville B. Nimmer, "The Right of Publicity," Law and Contemporary
 Problems 19 (1954): 203; William L. Prosser, "Privacy," California Law 
                Review

-48 (1960) 398­407; White v. Samsung Electronics America, Inc., 971 F.
+48 (1960) 398&ndash;407; White v. Samsung Electronics America, Inc., 971 F.

 2d 1395 (9th Cir. 1992), cert. denied, 508 U.S. 951 (1993).
 </para></footnote>)
 </para>
 2d 1395 (9th Cir. 1992), cert. denied, 508 U.S. 951 (1993).
 </para></footnote>)
 </para>


@@ -2254,7 +2254,7 @@ with people you disagree with. Political discourse becomes isolated,
 and isolated discourse becomes more extreme.<footnote><para>
 <!-- f17 -->
 Cass Sunstein, Republic.com (Princeton: Princeton University Press, 2001),
 and isolated discourse becomes more extreme.<footnote><para>
 <!-- f17 -->
 Cass Sunstein, Republic.com (Princeton: Princeton University Press, 2001),

-65­80, 175, 182, 183, 192.
+65&ndash;80, 175, 182, 183, 192.

 </para></footnote> We say what our
 friends want to hear, and hear very little beyond what our friends say.
 </para>
 </para></footnote> We say what our
 friends want to hear, and hear very little beyond what our friends say.
 </para>


@@ -2745,7 +2745,7 @@ Artists, on the other hand, are not well paid. The average recording
 artist makes $45,900.<footnote><para>
 <!-- f2 -->
 Occupational Employment Survey, U.S. Dept. of Labor (2001)
 artist makes $45,900.<footnote><para>
 <!-- f2 -->
 Occupational Employment Survey, U.S. Dept. of Labor (2001)

-(27­2042&mdash;Musicians and Singers). See also National Endowment for
+(27&ndash;2042&mdash;Musicians and Singers). See also National Endowment for

 the Arts, More Than One in a Blue Moon (2000).
 </para></footnote>
 There are plenty of ways for the RIAA to affect
 the Arts, More Than One in a Blue Moon (2000).
 </para></footnote>
 There are plenty of ways for the RIAA to affect


@@ -2799,7 +2799,7 @@ The film industry of Hollywood was built by fleeing pirates.<footnote><para>
 <!-- f1 -->
 I am grateful to Peter DiMauro for pointing me to this extraordinary 
                history.
 <!-- f1 -->
 I am grateful to Peter DiMauro for pointing me to this extraordinary 
                history.

-See also Siva Vaidhyanathan, Copyrights and Copywrongs, 87­93,
+See also Siva Vaidhyanathan, Copyrights and Copywrongs, 87&ndash;93,

 which details Edison's "adventures" with copyright and patent.
 </para></footnote>
 Creators
 which details Edison's "adventures" with copyright and patent.
 </para></footnote>
 Creators


@@ -2984,7 +2984,7 @@ of anything he had before their introduction." Rather, the
                machines
 increased the sales of sheet music.<footnote><para>
 <!-- f8 -->
                machines
 increased the sales of sheet music.<footnote><para>
 <!-- f8 -->

-To Amend and Consolidate the Acts Respecting Copyright, 283­84
+To Amend and Consolidate the Acts Respecting Copyright, 283&ndash;84

 (statement of Albert Walker, representative of the Auto-Music 
                Perforating
 Company of New York).
 (statement of Albert Walker, representative of the Auto-Music 
                Perforating
 Company of New York).


@@ -3408,7 +3408,7 @@ these nations live gives them some opportunities to escape the burden
 of intellectual property law.<footnote><para>
 <!-- f2 -->
 See Peter Drahos with John Braithwaite, Information Feudalism: Who
 of intellectual property law.<footnote><para>
 <!-- f2 -->
 See Peter Drahos with John Braithwaite, Information Feudalism: Who

-Owns the Knowledge Economy? (New York: The New Press, 2003), 10­13,
+Owns the Knowledge Economy? (New York: The New Press, 2003), 10&ndash;13,

 209.  The Trade-Related Aspects of Intellectual Property Rights
 (TRIPS) agreement obligates member nations to create administrative
 and enforcement mechanisms for intellectual property rights, a costly
 209.  The Trade-Related Aspects of Intellectual Property Rights
 (TRIPS) agreement obligates member nations to create administrative
 and enforcement mechanisms for intellectual property rights, a costly


@@ -3435,7 +3435,7 @@ less money than they otherwise would have had.<footnote><para>
 <!-- f3 -->
 For an analysis of the economic impact of copying technology, see Stan
 Liebowitz, Rethinking the Network Economy (New York: Amacom, 2002),
 <!-- f3 -->
 For an analysis of the economic impact of copying technology, see Stan
 Liebowitz, Rethinking the Network Economy (New York: Amacom, 2002),

-144­90. "In some instances . . . the impact of piracy on the copyright holder's
+144&ndash;90. "In some instances . . . the impact of piracy on the copyright holder's

 ability to appropriate the value of the work will be negligible. One obvious 
                instance
 is the case where the individual engaging in pirating would not have
 ability to appropriate the value of the work will be negligible. One obvious 
                instance
 is the case where the individual engaging in pirating would not have


@@ -3588,7 +3588,7 @@ up with the most creative, paradigm-shifting uses for their own products.
 This job usually falls to outside innovators, who reassemble existing 
                technology
 in inventive ways. For a discussion of Christensen's ideas, see
 This job usually falls to outside innovators, who reassemble existing 
                technology
 in inventive ways. For a discussion of Christensen's ideas, see

-Lawrence Lessig, Future, 89­92, 139.
+Lawrence Lessig, Future, 89&ndash;92, 139.

 </para></footnote>), Shawn Fanning and crew had simply
 put together components that had been developed independently.
 </para>
 </para></footnote>), Shawn Fanning and crew had simply
 put together components that had been developed independently.
 </para>


@@ -3719,7 +3719,7 @@ Let's start with some simple but important points. From the
 of the law, only type D sharing is clearly legal. From the
 perspective of economics, only type A sharing is clearly harmful.<footnote><para>
 <!-- f9 -->
 of the law, only type D sharing is clearly legal. From the
 perspective of economics, only type A sharing is clearly harmful.<footnote><para>
 <!-- f9 -->

-See Liebowitz, Rethinking the Network Economy,148­49.
+See Liebowitz, Rethinking the Network Economy,148&ndash;49.

 </para></footnote>
 Type B sharing is illegal but plainly beneficial. Type C sharing is 
                illegal,
 </para></footnote>
 Type B sharing is illegal but plainly beneficial. Type C sharing is 
                illegal,


@@ -3761,7 +3761,7 @@ Assessment conducted a survey of consumer behavior. In 1988, 40 percent
 of consumers older than ten had taped music to a cassette format. U.S.
 Congress, Office of Technology Assessment, Copyright and Home Copying:
 Technology Challenges the Law, OTA-CIT-422 (Washington, D.C.: U.S.
 of consumers older than ten had taped music to a cassette format. U.S.
 Congress, Office of Technology Assessment, Copyright and Home Copying:
 Technology Challenges the Law, OTA-CIT-422 (Washington, D.C.: U.S.

-Government Printing Office, October 1989), 145­56.
+Government Printing Office, October 1989), 145&ndash;56.

 </para></footnote>
 The labels claimed that every album taped was an
 album unsold, and when record sales fell by 11.4 percent in 1981, the
 </para></footnote>
 The labels claimed that every album taped was an
 album unsold, and when record sales fell by 11.4 percent in 1981, the


@@ -4031,7 +4031,7 @@ MHP, available at
 <ulink url="http://free-culture.cc/notes/">link #21</ulink>. For an account of the litigation and its toll on
 Napster, see Joseph Menn, All the Rave: The Rise and Fall of Shawn 
                Fanning's
 <ulink url="http://free-culture.cc/notes/">link #21</ulink>. For an account of the litigation and its toll on
 Napster, see Joseph Menn, All the Rave: The Rise and Fall of Shawn 
                Fanning's

-Napster (New York: Crown Business, 2003), 269­82.
+Napster (New York: Crown Business, 2003), 269&ndash;82.

 </para></footnote>
 </para>
 <para>
 </para></footnote>
 </para>
 <para>


@@ -4275,7 +4275,7 @@ controlling the technology of DAT. See Audio Home Recording Act of
 4237, codified at 17 U.S.C. §1001. Again, however, this regulation did not
 eliminate the opportunity for free riding in the sense I've described. See
 Lessig, Future, 71. See also Picker, "From Edison to the Broadcast Flag,"
 4237, codified at 17 U.S.C. §1001. Again, however, this regulation did not
 eliminate the opportunity for free riding in the sense I've described. See
 Lessig, Future, 71. See also Picker, "From Edison to the Broadcast Flag,"

-University of Chicago Law Review 70 (2003): 293­96.
+University of Chicago Law Review 70 (2003): 293&ndash;96.

 </para></footnote>
 In each case, throughout our history,
 that change meant that someone got a "free ride" on someone else's
 </para></footnote>
 In each case, throughout our history,
 that change meant that someone got a "free ride" on someone else's


@@ -4410,7 +4410,7 @@ lights his taper at mine, receives light without darkening me."<footnote><para>
 <!-- f1 -->
 Letter from Thomas Jefferson to Isaac McPherson (13 August 1813) in
 The Writings of Thomas Jefferson, vol. 6 (Andrew A. Lipscomb and Albert
 <!-- f1 -->
 Letter from Thomas Jefferson to Isaac McPherson (13 August 1813) in
 The Writings of Thomas Jefferson, vol. 6 (Andrew A. Lipscomb and Albert

-Ellery Bergh, eds., 1903), 330, 333­34.
+Ellery Bergh, eds., 1903), 330, 333&ndash;34.

 </para></footnote>
 </para>
 <para>
 </para></footnote>
 </para>
 <para>


@@ -4480,14 +4480,14 @@ handsome "definitive editions" of classic works. In addition to Romeo and
 Juliet, he published an astonishing array of works that still remain at the
 heart of the English canon, including collected works of Shakespeare, Ben
 Jonson, John Milton, and John Dryden. See Keith Walker, "Jacob Tonson,
 Juliet, he published an astonishing array of works that still remain at the
 heart of the English canon, including collected works of Shakespeare, Ben
 Jonson, John Milton, and John Dryden. See Keith Walker, "Jacob Tonson,

-Bookseller," American Scholar 61:3 (1992): 424­31.
+Bookseller," American Scholar 61:3 (1992): 424&ndash;31.

 </para></footnote>
 Tonson was the
 most prominent of a small group of publishers called the Conger<footnote><para>
 <!-- f2 -->
 Lyman Ray Patterson, Copyright in Historical Perspective (Nashville: 
                Vanderbilt
 </para></footnote>
 Tonson was the
 most prominent of a small group of publishers called the Conger<footnote><para>
 <!-- f2 -->
 Lyman Ray Patterson, Copyright in Historical Perspective (Nashville: 
                Vanderbilt

-University Press, 1968), 151­52.
+University Press, 1968), 151&ndash;52.

 </para></footnote>
 who
 controlled bookselling in England during the eighteenth century. The
 </para></footnote>
 who
 controlled bookselling in England during the eighteenth century. The


@@ -4755,7 +4755,7 @@ for cattle."<footnote><para>
 <!-- f6 -->
 Lyman Ray Patterson, "Free Speech, Copyright, and Fair Use," Vanderbilt
 Law Review 40 (1987): 28. For a wonderfully compelling account, see
 <!-- f6 -->
 Lyman Ray Patterson, "Free Speech, Copyright, and Fair Use," Vanderbilt
 Law Review 40 (1987): 28. For a wonderfully compelling account, see

-Vaidhyanathan, 37­48.
+Vaidhyanathan, 37&ndash;48.

 </para></footnote>
 The bookseller didn't care squat for the rights of the 
                author.
 </para></footnote>
 The bookseller didn't care squat for the rights of the 
                author.


@@ -4767,7 +4767,7 @@ The hero of this fight was a Scottish bookseller named Alexander
 Donaldson.<footnote><para>
 <!-- f7 -->
 For a compelling account, see David Saunders, Authorship and Copyright
 Donaldson.<footnote><para>
 <!-- f7 -->
 For a compelling account, see David Saunders, Authorship and Copyright

-(London: Routledge, 1992), 62­69.
+(London: Routledge, 1992), 62&ndash;69.

 </para></footnote>
 </para>
 <para>
 </para></footnote>
 </para>
 <para>


@@ -5722,7 +5722,7 @@ library. The copy exists&mdash;if it exists at all&mdash;in the library archive
 film company.<footnote><para>
 <!-- f2  -->
 Doug Herrick, "Toward a National Film Collection: Motion Pictures at the
 film company.<footnote><para>
 <!-- f2  -->
 Doug Herrick, "Toward a National Film Collection: Motion Pictures at the

-Library of Congress," Film Library Quarterly 13 nos. 2­3 (1980): 5; 
+Library of Congress," Film Library Quarterly 13 nos. 2&ndash;3 (1980): 5; 

                Anthony
 Slide, Nitrate Won't Wait: A History of Film Preservation in the United
 States ( Jefferson, N.C.: McFarland &amp; Co., 1992), 36.
                Anthony
 Slide, Nitrate Won't Wait: A History of Film Preservation in the United
 States ( Jefferson, N.C.: McFarland &amp; Co., 1992), 36.


@@ -6030,7 +6030,7 @@ right to drive at 150 miles an hour. For the best effort to connect the
                ordinary
 meaning of "property" to "lawyer talk," see Bruce Ackerman, Private
 Property and the Constitution (New Haven: Yale University Press, 1977),
                ordinary
 meaning of "property" to "lawyer talk," see Bruce Ackerman, Private
 Property and the Constitution (New Haven: Yale University Press, 1977),

-26­27.
+26&ndash;27.

 </para></footnote> it has never been the
 case, nor should it be, that "creative property owners" have been 
                "accorded
 </para></footnote> it has never been the
 case, nor should it be, that "creative property owners" have been 
                "accorded


@@ -6265,7 +6265,7 @@ only distinction is that it alone speaks as if it has a right self-consciously t
 change the other three. The right of the other three is more timidly 
                expressed.
 See Lawrence Lessig, Code: And Other Laws of Cyberspace (New
 change the other three. The right of the other three is more timidly 
                expressed.
 See Lawrence Lessig, Code: And Other Laws of Cyberspace (New

-York: Basic Books, 1999): 90­95; Lawrence Lessig, "The New Chicago
+York: Basic Books, 1999): 90&ndash;95; Lawrence Lessig, "The New Chicago

 School," Journal of Legal Studies, June 1998.
 </para></footnote>
 The law, in other words, sometimes
 School," Journal of Legal Studies, June 1998.
 </para></footnote>
 The law, in other words, sometimes


@@ -6473,7 +6473,7 @@ never have any progress. As Microsoft chairman Bill Gates wrote in
 1991, in a memo criticizing software patents, "established companies
 have an interest in excluding future competitors."<footnote><para>
 <!-- f6 -->
 1991, in a memo criticizing software patents, "established companies
 have an interest in excluding future competitors."<footnote><para>
 <!-- f6 -->

-Fred Warshofsky, The Patent Wars (New York: Wiley, 1994), 170­71.
+Fred Warshofsky, The Patent Wars (New York: Wiley, 1994), 170&ndash;71.

 </para></footnote>
 And relative to a
 startup, established companies also have the means. (Think RCA and
 </para></footnote>
 And relative to a
 startup, established companies also have the means. (Think RCA and


@@ -6696,7 +6696,7 @@ supplemented common law rights that already protected creative
                authorship.<footnote><para>
 <!-- f8 -->
 William W. Crosskey, Politics and the Constitution in the History of the
                authorship.<footnote><para>
 <!-- f8 -->
 William W. Crosskey, Politics and the Constitution in the History of the

-United States (London: Cambridge University Press, 1953), vol. 1, 485­86:
+United States (London: Cambridge University Press, 1953), vol. 1, 485&ndash;86:

 "extinguish[ing], by plain implication of `the supreme Law of the Land,'
 the perpetual rights which authors had, or were supposed by some to have, under
 the Common Law" (emphasis added).
 "extinguish[ing], by plain implication of `the supreme Law of the Land,'
 the perpetual rights which authors had, or were supposed by some to have, under
 the Common Law" (emphasis added).


@@ -6738,10 +6738,10 @@ likely within fourteen years.<footnote><para>
 Although 13,000 titles were published in the United States from 1790
 to 1799, only 556 copyright registrations were filed; John Tebbel, A
 History of Book Publishing in the United States, vol. 1, The Creation
 Although 13,000 titles were published in the United States from 1790
 to 1799, only 556 copyright registrations were filed; John Tebbel, A
 History of Book Publishing in the United States, vol. 1, The Creation

-of an Industry, 1630­1865 (New York: Bowker, 1972), 141. Of the 21,000
+of an Industry, 1630&ndash;1865 (New York: Bowker, 1972), 141. Of the 21,000

 imprints recorded before 1790, only twelve were copyrighted under the
 1790 act; William J. Maher, Copyright Term, Retrospective Extension
 imprints recorded before 1790, only twelve were copyrighted under the
 1790 act; William J. Maher, Copyright Term, Retrospective Extension

-and the Copyright Law of 1790 in Historical Context, 7­10 (2002),
+and the Copyright Law of 1790 in Historical Context, 7&ndash;10 (2002),

 available at <ulink url="http://free-culture.cc/notes/">link
 #25</ulink>.  Thus, the overwhelming majority of works fell
 immediately into the public domain. Even those works that were
 available at <ulink url="http://free-culture.cc/notes/">link
 #25</ulink>.  Thus, the overwhelming majority of works fell
 immediately into the public domain. Even those works that were


@@ -6773,7 +6773,7 @@ rates, see Barbara A. Ringer, "Study No. 31: Renewal of Copyright,"
 Studies on Copyright, vol. 1 (New York: Practicing Law Institute,
 1963), 618. For a more recent and comprehensive analysis, see William
 M. Landes and Richard A.  Posner, "Indefinitely Renewable Copyright,"
 Studies on Copyright, vol. 1 (New York: Practicing Law Institute,
 1963), 618. For a more recent and comprehensive analysis, see William
 M. Landes and Richard A.  Posner, "Indefinitely Renewable Copyright,"

-University of Chicago Law Review 70 (2003): 471, 498­501, and
+University of Chicago Law Review 70 (2003): 471, 498&ndash;501, and

 accompanying figures.  </para></footnote>
 </para>
 <para>
 accompanying figures.  </para></footnote>
 </para>
 <para>


@@ -6951,7 +6951,7 @@ See Thomas Bender and David Sampliner, "Poets, Pirates, and the
 of American Literature," 29 New York University Journal of 
                International
 Law and Politics 255 (1997), and James Gilraeth, ed., Federal
 of American Literature," 29 New York University Journal of 
                International
 Law and Politics 255 (1997), and James Gilraeth, ed., Federal

-Copyright Records, 1790­1800 (U.S. G.P.O., 1987).
+Copyright Records, 1790&ndash;1800 (U.S. G.P.O., 1987).

 </para></footnote>
 The Copyright Act was thus a tiny
 regulation of a tiny proportion of a tiny part of the creative market in
 </para></footnote>
 The Copyright Act was thus a tiny
 regulation of a tiny proportion of a tiny part of the creative market in


@@ -7040,7 +7040,7 @@ about the difference that copyright law should draw (from the perspective
 of the First Amendment) between mere "copies" and derivative works. See
 Jed Rubenfeld, "The Freedom of Imagination: Copyright's 
                Constitutionality,"
 of the First Amendment) between mere "copies" and derivative works. See
 Jed Rubenfeld, "The Freedom of Imagination: Copyright's 
                Constitutionality,"

-Yale Law Journal 112 (2002): 1­60 (see especially pp. 53­59).
+Yale Law Journal 112 (2002): 1&ndash;60 (see especially pp. 53&ndash;59).

 </para></footnote>
 These two different uses of my creative work are
 treated the same.
 </para></footnote>
 These two different uses of my creative work are
 treated the same.


@@ -7412,7 +7412,7 @@ if they went forward with their plan.<footnote><para>
 <!-- f19 -->
 See David Lange, "Recognizing the Public Domain," Law and 
                Contemporary
 <!-- f19 -->
 See David Lange, "Recognizing the Public Domain," Law and 
                Contemporary

-Problems 44 (1981): 172­73.
+Problems 44 (1981): 172&ndash;73.

 </para></footnote>
 </para>
 <para>
 </para></footnote>
 </para>
 <para>


@@ -7420,7 +7420,7 @@ This led the Marx Brothers to respond in kind. They warned
 Warner Brothers that the Marx Brothers "were brothers long before
 you were."<footnote><para>
 <!-- f20 -->
 Warner Brothers that the Marx Brothers "were brothers long before
 you were."<footnote><para>
 <!-- f20 -->

-Ibid. See also Vaidhyanathan, Copyrights and Copywrongs, 1­3.
+Ibid. See also Vaidhyanathan, Copyrights and Copywrongs, 1&ndash;3.

 </para></footnote>
 The Marx Brothers therefore owned the word brothers,
 and if Warner Brothers insisted on trying to control Casablanca, then
 </para></footnote>
 The Marx Brothers therefore owned the word brothers,
 and if Warner Brothers insisted on trying to control Casablanca, then


@@ -7887,7 +7887,7 @@ important.<footnote><para>
 Sony Corporation of America v. Universal City Studios, Inc., 464 U.S. 417,
 455 fn. 27 (1984). Rogers never changed his view about the VCR. See
 James Lardner, Fast Forward: Hollywood, the Japanese, and the Onslaught of
 Sony Corporation of America v. Universal City Studios, Inc., 464 U.S. 417,
 455 fn. 27 (1984). Rogers never changed his view about the VCR. See
 James Lardner, Fast Forward: Hollywood, the Japanese, and the Onslaught of

-the VCR (New York: W. W. Norton, 1987), 270­71.
+the VCR (New York: W. W. Norton, 1987), 270&ndash;71.

 </para></footnote>
 </para>
 </blockquote>
 </para></footnote>
 </para>
 </blockquote>


@@ -8265,7 +8265,7 @@ Bestseller that Changed the Way We Do Business (Cambridge: Harvard
 Business School Press, 1997). Christensen acknowledges that the idea was
 first suggested by Dean Kim Clark. See Kim B. Clark, "The Interaction of
 Design Hierarchies and Market Concepts in Technological Evolution,"
 Business School Press, 1997). Christensen acknowledges that the idea was
 first suggested by Dean Kim Clark. See Kim B. Clark, "The Interaction of
 Design Hierarchies and Market Concepts in Technological Evolution,"

-Research Policy 14 (1985): 235­51. For a more recent study, see Richard
+Research Policy 14 (1985): 235&ndash;51. For a more recent study, see Richard

 Foster and Sarah Kaplan, Creative Destruction: Why Companies That Are
 Built to Last Underperform the Market&mdash;and How to Successfully Transform
 Them (New York: Currency/Doubleday, 2001).
 Foster and Sarah Kaplan, Creative Destruction: Why Companies That Are
 Built to Last Underperform the Market&mdash;and How to Successfully Transform
 Them (New York: Currency/Doubleday, 2001).


@@ -8381,7 +8381,7 @@ courts are willing to do to even the playing field. For a general overview,
 see Rhonda Brown, "Ad Hoc Access: The Regulation of Editorial 
                Advertising
 on Television and Radio," Yale Law and Policy Review 6 (1988):
 see Rhonda Brown, "Ad Hoc Access: The Regulation of Editorial 
                Advertising
 on Television and Radio," Yale Law and Policy Review 6 (1988):

-449­79, and for a more recent summary of the stance of the FCC and the
+449&ndash;79, and for a more recent summary of the stance of the FCC and the

 courts, see Radio-Television News Directors Association v. FCC, 184 F. 3d
 872 (D.C. Cir. 1999). Municipal authorities exercise the same authority as
 the networks. In a recent example from San Francisco, the San Francisco
 courts, see Radio-Television News Directors Association v. FCC, 184 F. 3d
 872 (D.C. Cir. 1999). Municipal authorities exercise the same authority as
 the networks. In a recent example from San Francisco, the San Francisco


@@ -8497,7 +8497,7 @@ the most significant regulation of culture that our free society has
 known.<footnote><para>
 <!-- f35 -->
 Siva Vaidhyanathan captures a similar point in his "four surrenders" of
 known.<footnote><para>
 <!-- f35 -->
 Siva Vaidhyanathan captures a similar point in his "four surrenders" of

-copyright law in the digital age. See Vaidhyanathan, 159­60.
+copyright law in the digital age. See Vaidhyanathan, 159&ndash;60.

 </para></footnote>
 </para>
 <para>
 </para></footnote>
 </para>
 <para>


@@ -9533,7 +9533,7 @@ would require computers to determine whether the content they access
 is protected or not, and to disable the spread of protected content.<footnote><para>
 <!-- f6. --> "Copyright and Digital Media in a Post-Napster World," GartnerG2 and
 the Berkman Center for Internet and Society at Harvard Law School
 is protected or not, and to disable the spread of protected content.<footnote><para>
 <!-- f6. --> "Copyright and Digital Media in a Post-Napster World," GartnerG2 and
 the Berkman Center for Internet and Society at Harvard Law School

-(2003), 33­35, available at 
+(2003), 33&ndash;35, available at 

 <ulink url="http://free-culture.cc/notes/">link #44</ulink>.
 </para></footnote>
  
 <ulink url="http://free-culture.cc/notes/">link #44</ulink>.
 </para></footnote>
  


@@ -9547,7 +9547,7 @@ Congress have proposed immunizing content providers from liability
 for technology they might deploy that would hunt down copyright 
                violators
 and disable their machines.<footnote><para>
 for technology they might deploy that would hunt down copyright 
                violators
 and disable their machines.<footnote><para>

-<!-- f7. --> GartnerG2, 26­27.
+<!-- f7. --> GartnerG2, 26&ndash;27.

 </para></footnote>
 
 </para>
 </para></footnote>
 
 </para>


@@ -9638,7 +9638,7 @@ of that content. And in March of the same year, Senator Fritz Hollings
 introduced the Consumer Broadband and Digital Television Promotion
 Act, which mandated copyright protection technology in all digital media
 devices. See GartnerG2, "Copyright and Digital Media in a Post-Napster
 introduced the Consumer Broadband and Digital Television Promotion
 Act, which mandated copyright protection technology in all digital media
 devices. See GartnerG2, "Copyright and Digital Media in a Post-Napster

-World," 27 June 2003, 33­34, available at 
+World," 27 June 2003, 33&ndash;34, available at 

 <ulink url="http://free-culture.cc/notes/">link #44</ulink>.
 </para></footnote>
  But there is one
 <ulink url="http://free-culture.cc/notes/">link #44</ulink>.
 </para></footnote>
  But there is one


@@ -12262,7 +12262,7 @@ of Authors where the author's true name can be filed in the case of
                anonymous
 or pseudonymous works. Paul Goldstein, International Intellectual
 Property Law, Cases and Materials (New York: Foundation Press, 2001),
                anonymous
 or pseudonymous works. Paul Goldstein, International Intellectual
 Property Law, Cases and Materials (New York: Foundation Press, 2001),

-153­54.
+153&ndash;54.

 </para></footnote>
  The 
                Europeans
 </para></footnote>
  The 
                Europeans


@@ -12652,7 +12652,7 @@ for the World Intellectual Property Organization (Washington, D.C.,
 <ulink url="http://free-culture.cc/notes/">link #56</ulink>. For a firsthand account of the struggle over
 South Africa, see Hearing Before the Subcommittee on Criminal Justice,
 Drug Policy, and Human Resources, House Committee on Government
 <ulink url="http://free-culture.cc/notes/">link #56</ulink>. For a firsthand account of the struggle over
 South Africa, see Hearing Before the Subcommittee on Criminal Justice,
 Drug Policy, and Human Resources, House Committee on Government

-Reform, H. Rep., 1st sess., Ser. No. 106-126 (22 July 1999), 150­57
+Reform, H. Rep., 1st sess., Ser. No. 106-126 (22 July 1999), 150&ndash;57

 (statement of James Love).
 </para></footnote>
  Through the
 (statement of James Love).
 </para></footnote>
  Through the


@@ -13112,7 +13112,7 @@ control.
 <para>
 As Peter Drahos and John Braithwaite relate, this is precisely the
 choice we are now making about intellectual property.<footnote><para>
 <para>
 As Peter Drahos and John Braithwaite relate, this is precisely the
 choice we are now making about intellectual property.<footnote><para>

-<!-- f10. --> See Drahos with Braithwaite, Information Feudalism, 210­20.
+<!-- f10. --> See Drahos with Braithwaite, Information Feudalism, 210&ndash;20.

 </para></footnote>
  We will have
 an information society. That much is certain. Our only choice now is
 </para></footnote>
  We will have
 an information society. That much is certain. Our only choice now is


@@ -13494,7 +13494,7 @@ did.<footnote><para>
 <!-- f1. --> See, for example, Marc Rotenberg, "Fair Information Practices and the 
                Architecture
 of Privacy (What Larry Doesn't Get)," Stanford Technology Law
 <!-- f1. --> See, for example, Marc Rotenberg, "Fair Information Practices and the 
                Architecture
 of Privacy (What Larry Doesn't Get)," Stanford Technology Law

-Review 1 (2001): par. 6­18, available at 
+Review 1 (2001): par. 6&ndash;18, available at 

 <ulink url="http://free-culture.cc/notes/">link #72</ulink> (describing examples in
 which technology defines privacy policy). See also Jeffrey Rosen, The Naked
 Crowd: Reclaiming Security and Freedom in an Anxious Age (New York: 
 <ulink url="http://free-culture.cc/notes/">link #72</ulink> (describing examples in
 which technology defines privacy policy). See also Jeffrey Rosen, The Naked
 Crowd: Reclaiming Security and Freedom in an Anxious Age (New York: 


@@ -14328,7 +14328,7 @@ This is the reverse of the recommendation of my colleague Paul
 Goldstein.<footnote><para>
 <!-- f7. --> Paul Goldstein, Copyright's Highway: From Gutenberg to the Celestial 
                Jukebox
 Goldstein.<footnote><para>
 <!-- f7. --> Paul Goldstein, Copyright's Highway: From Gutenberg to the Celestial 
                Jukebox

-(Stanford: Stanford University Press, 2003), 187­216.
+(Stanford: Stanford University Press, 2003), 187&ndash;216.

 </para></footnote>
  His view is that the law should be written so that expanded
 protections follow expanded uses.
 </para></footnote>
  His view is that the law should be written so that expanded
 protections follow expanded uses.


@@ -14815,7 +14815,7 @@ Term Extension Act. Yet just thirty years ago, the dominant scholar
 and practitioner in the field of copyright, Melville Nimmer, thought it
 obvious.<footnote><para>
 <!-- f10. --> Lawrence Lessig, "Copyright's First Amendment" (Melville B. Nimmer
 and practitioner in the field of copyright, Melville Nimmer, thought it
 obvious.<footnote><para>
 <!-- f10. --> Lawrence Lessig, "Copyright's First Amendment" (Melville B. Nimmer

-Memorial Lecture), UCLA Law Review 48 (2001): 1057, 1069­70.
+Memorial Lecture), UCLA Law Review 48 (2001): 1057, 1069&ndash;70.

 </para></footnote>
 
 </para>
 </para></footnote>
 
 </para>


@@ -14845,7 +14845,7 @@ June 2003, available at
 Liebowitz's careful analysis is extremely valuable in estimating the 
                effect
 of file-sharing technology. In my view, however, he underestimates the
 Liebowitz's careful analysis is extremely valuable in estimating the 
                effect
 of file-sharing technology. In my view, however, he underestimates the

-costs of the legal system. See, for example, Rethinking, 174­76.
+costs of the legal system. See, for example, Rethinking, 174&ndash;76.

 </para></footnote>
  They see a system that has been
 around for hundreds of years, and they assume it works the way their
 </para></footnote>
  They see a system that has been
 around for hundreds of years, and they assume it works the way their