Clean up XML.

diff --git a/freeculture.xml b/freeculture.xml
index a991668d2259999f9b43275aa446d1d16b583034..cd90d18193d73721fd84bbc710226cd1003662a8 100644 (file)
--- a/freeculture.xml
+++ b/freeculture.xml
@@ -2654,8 +2654,7 @@ the Arts, More Than One in a Blue Moon (2000).
 </para></footnote>
 There are plenty of ways for the RIAA to affect
 and direct policy. So where is the morality in taking money from a 
 </para></footnote>
 There are plenty of ways for the RIAA to affect
 and direct policy. So where is the morality in taking money from a 

-               student
-for running a search engine?<footnote><para>
+student for running a search engine?<footnote><para>

 <!-- f3 -->
 Douglas Lichtman makes a related point in "KaZaA and Punishment,"
 Wall Street Journal, 10 September 2003, A24.
 <!-- f3 -->
 Douglas Lichtman makes a related point in "KaZaA and Punishment,"
 Wall Street Journal, 10 September 2003, A24.


@@ -2672,8 +2671,7 @@ activist:
 I was definitely not an activist [before]. I never really meant to be
 an activist. . . . [But] I've been pushed into this. In no way did I
 ever foresee anything like this, but I think it's just completely 
 I was definitely not an activist [before]. I never really meant to be
 an activist. . . . [But] I've been pushed into this. In no way did I
 ever foresee anything like this, but I think it's just completely 

-               absurd
-what the RIAA has done.
+absurd what the RIAA has done.

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


@@ -2688,7 +2686,6 @@ wrong message. And he wants to correct the record."
 <sect1 id="pirates">
 <title>CHAPTER FOUR: "Pirates"</title>
 <para>
 <sect1 id="pirates">
 <title>CHAPTER FOUR: "Pirates"</title>
 <para>

-

 If "piracy" means using the creative property of others without
 their permission&mdash;if "if value, then right" is true&mdash;then the history of
 the content industry is a history of piracy. Every important sector of
 If "piracy" means using the creative property of others without
 their permission&mdash;if "if value, then right" is true&mdash;then the history of
 the content industry is a history of piracy. Every important sector of


@@ -2702,19 +2699,16 @@ pirates join this generation's country club&mdash;until now.
 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 
 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.
-See also Siva Vaidhyanathan, Copyrights and Copywrongs, 87&ndash;93,
+history. See also Siva Vaidhyanathan, Copyrights and Copywrongs, 87&ndash;93,

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

-Creators
-and directors migrated from the East Coast to California in the early
-twentieth century in part to escape controls that patents granted the
-inventor of filmmaking, Thomas Edison. These controls were 
-               exercised
-through a monopoly "trust," the Motion Pictures Patents 
-               Company,
-and were based on Thomas Edison's creative property&mdash;patents.
-Edison formed the MPPC to exercise the rights this creative property
+Creators and directors migrated from the East Coast to California in
+the early twentieth century in part to escape controls that patents
+granted the inventor of filmmaking, Thomas Edison. These controls were
+exercised through a monopoly "trust," the Motion Pictures Patents
+Company, and were based on Thomas Edison's creative
+property&mdash;patents.  Edison formed the MPPC to exercise the rights
+this creative property

 <!-- PAGE BREAK 67 -->
 gave him, and the MPPC was serious about the control it demanded.
 </para>
 <!-- PAGE BREAK 67 -->
 gave him, and the MPPC was serious about the control it demanded.
 </para>


@@ -2732,52 +2726,45 @@ with producers and theater owners using illegal equipment and
 imported film stock to create their own underground market.
 </para>
 <para>
 imported film stock to create their own underground market.
 </para>
 <para>

-With the country experiencing a tremendous expansion in the
-number of nickelodeons, the Patents Company reacted to the 
-               independent
-movement by forming a strong-arm subsidiary known
-as the General Film Company to block the entry of non-licensed
-independents. With coercive tactics that have become legendary,
-General Film confiscated unlicensed equipment, discontinued
-product supply to theaters which showed unlicensed films, and
-effectively monopolized distribution with the acquisition of all
-U.S. film exchanges, except for the one owned by the independent
-William Fox who defied the Trust even after his license was 
-               revoked.<footnote><para>
+With the country experiencing a tremendous expansion in the number of
+nickelodeons, the Patents Company reacted to the independent movement
+by forming a strong-arm subsidiary known as the General Film Company
+to block the entry of non-licensed independents. With coercive tactics
+that have become legendary, General Film confiscated unlicensed
+equipment, discontinued product supply to theaters which showed
+unlicensed films, and effectively monopolized distribution with the
+acquisition of all U.S. film exchanges, except for the one owned by
+the independent William Fox who defied the Trust even after his
+license was revoked.<footnote><para>

 <!-- f2 -->
 J. A. Aberdeen, Hollywood Renegades: The Society of Independent Motion
 Picture Producers (Cobblestone Entertainment, 2000) and expanded texts
 posted at "The Edison Movie Monopoly: The Motion Picture Patents
 Company vs. the Independent Outlaws," available at 
 <!-- f2 -->
 J. A. Aberdeen, Hollywood Renegades: The Society of Independent Motion
 Picture Producers (Cobblestone Entertainment, 2000) and expanded texts
 posted at "The Edison Movie Monopoly: The Motion Picture Patents
 Company vs. the Independent Outlaws," available at 

-<ulink url="http://free-culture.cc/notes/">link #11</ulink>. For a 
-               discussion
-of the economic motive behind both these limits and the limits
-imposed by Victor on phonographs, see Randal C. Picker, "From 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>
+<ulink url="http://free-culture.cc/notes/">link #11</ulink>. For a
+discussion of the economic motive behind both these limits and the
+limits imposed by Victor on phonographs, see Randal C. Picker, "From
+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>

 </para>
 </blockquote>
 <para>
 The Napsters of those days, the "independents," were companies like
 </para>
 </blockquote>
 <para>
 The Napsters of those days, the "independents," were companies like

-Fox. And no less than today, these independents were vigorously 
-               resisted.
-"Shooting was disrupted by machinery stolen, and `accidents'
-resulting in loss of negatives, equipment, buildings and sometimes life
-and limb frequently occurred."<footnote><para>
+Fox. And no less than today, these independents were vigorously
+resisted.  "Shooting was disrupted by machinery stolen, and
+`accidents' resulting in loss of negatives, equipment, buildings and
+sometimes life and limb frequently occurred."<footnote><para>

 <!-- f3 -->
 Marc Wanamaker, "The First Studios," The Silents Majority, archived at
 <!-- f3 -->
 Marc Wanamaker, "The First Studios," The Silents Majority, archived at

-

 <ulink url="http://free-culture.cc/notes/">link #12</ulink>.
 </para></footnote>
 <ulink url="http://free-culture.cc/notes/">link #12</ulink>.
 </para></footnote>

-That led the independents to flee the
-East Coast. California was remote enough from Edison's reach that 
-               filmmakers
-there could pirate his inventions without fear of the law. And the
-leaders of Hollywood filmmaking, Fox most prominently, did just that.
+That led the independents to flee the East
+Coast. California was remote enough from Edison's reach that
+filmmakers there could pirate his inventions without fear of the
+law. And the leaders of Hollywood filmmaking, Fox most prominently,
+did just that.

 </para>
 <para>
 Of course, California grew quickly, and the effective enforcement
 </para>
 <para>
 Of course, California grew quickly, and the effective enforcement


@@ -2786,9 +2773,8 @@ patent holder a truly "limited" monopoly (just seventeen years at that
 
 <!-- PAGE BREAK 68 -->
 time), by the time enough federal marshals appeared, the patents had
 
 <!-- PAGE BREAK 68 -->
 time), by the time enough federal marshals appeared, the patents had

-expired. A new industry had been born, in part from the piracy of 
-               Edison's
-creative property.
+expired. A new industry had been born, in part from the piracy of
+Edison's creative property.

 </para>
 </sect2>
 <sect2 id="recordedmusic">
 </para>
 </sect2>
 <sect2 id="recordedmusic">


@@ -2836,18 +2822,17 @@ put it,
 <para>
 Imagine the injustice of the thing. A composer writes a song or an
 opera. A publisher buys at great expense the rights to the same and
 <para>
 Imagine the injustice of the thing. A composer writes a song or an
 opera. A publisher buys at great expense the rights to the same and

-copyrights it. Along come the phonographic companies and 
-               companies
-who cut music rolls and deliberately steal the work of the brain
-of the composer and publisher without any regard for [their] rights.<footnote><para>
+copyrights it. Along come the phonographic companies and companies who
+cut music rolls and deliberately steal the work of the brain of the
+composer and publisher without any regard for [their]
+rights.<footnote><para>

 <!-- f4 -->
 To Amend and Consolidate the Acts Respecting Copyright: Hearings on
 S. 6330 and H.R. 19853 Before the ( Joint) Committees on Patents, 59th
 <!-- f4 -->
 To Amend and Consolidate the Acts Respecting Copyright: Hearings on
 S. 6330 and H.R. 19853 Before the ( Joint) Committees on Patents, 59th

-Cong. 59, 1st sess. (1906) (statement of Senator Alfred B. Kittredge, of
-South Dakota, chairman), reprinted in Legislative History of the
-Copyright Act, E. Fulton Brylawski and Abe Goldman, eds. (South 
-               Hackensack,
-N.J.: Rothman Reprints, 1976).
+Cong. 59, 1st sess. (1906) (statement of Senator Alfred B. Kittredge,
+of South Dakota, chairman), reprinted in Legislative History of the
+Copyright Act, E. Fulton Brylawski and Abe Goldman, eds. (South
+Hackensack, N.J.: Rothman Reprints, 1976).

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


@@ -2857,34 +2842,28 @@ people's works were "sponging upon the toil, the work, the talent, and
 genius of American composers,"<footnote><para>
 <!-- f5 -->
 To Amend and Consolidate the Acts Respecting Copyright, 223 
 genius of American composers,"<footnote><para>
 <!-- f5 -->
 To Amend and Consolidate the Acts Respecting Copyright, 223 

-               (statement
-of Nathan Burkan, attorney for the Music Publishers Association).
+(statement of Nathan Burkan, attorney for the Music Publishers Association).

 </para></footnote>
 and the "music publishing industry"
 was thereby "at the complete mercy of this one pirate."<footnote><para>
 <!-- f6 -->
 To Amend and Consolidate the Acts Respecting Copyright, 226 
 </para></footnote>
 and the "music publishing industry"
 was thereby "at the complete mercy of this one pirate."<footnote><para>
 <!-- f6 -->
 To Amend and Consolidate the Acts Respecting Copyright, 226 

-               (statement
-of Nathan Burkan, attorney for the Music Publishers Association).
+(statement of Nathan Burkan, attorney for the Music Publishers Association).

 </para></footnote>
 As John Philip
 Sousa put it, in as direct a way as possible, "When they make money
 out of my pieces, I want a share of it."<footnote><para>
 <!-- f7 -->
 To Amend and Consolidate the Acts Respecting Copyright, 23 
 </para></footnote>
 As John Philip
 Sousa put it, in as direct a way as possible, "When they make money
 out of my pieces, I want a share of it."<footnote><para>
 <!-- f7 -->
 To Amend and Consolidate the Acts Respecting Copyright, 23 

-               (statement
-of John Philip Sousa, composer).
+(statement of John Philip Sousa, composer).

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

-These arguments have familiar echoes in the wars of our day. So,
-too, do the arguments on the other side. The innovators who 
-               developed
-the player piano argued that "it is perfectly demonstrable that the
-introduction of automatic music players has not deprived any 
-               composer
-of anything he had before their introduction." Rather, the 
-               machines
+These arguments have familiar echoes in the wars of our day. So, too,
+do the arguments on the other side. The innovators who developed the
+player piano argued that "it is perfectly demonstrable that the
+introduction of automatic music players has not deprived any composer
+of anything he had before their introduction." Rather, the machines

 increased the sales of sheet music.<footnote><para>
 <!-- f8 -->
 To Amend and Consolidate the Acts Respecting Copyright, 283&ndash;84
 increased the sales of sheet music.<footnote><para>
 <!-- f8 -->
 To Amend and Consolidate the Acts Respecting Copyright, 283&ndash;84