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The Diller Street Journal
Volume IV, Issue 2
December 2015
The TPP’s Impact on Intellectual Property
Split Enz’ “Mental Notes” (1975)
John Villanueva ’17
S
Robbie Bay ’17
T
he Trans-Pacific Partnership (or TPP for short) is a massive trade agreement including twelve countries on the Pacific Rim. The idea behind this deal is to promote trade among these countries and increase economic growth. From an economic standpoint, there have been many perspectives about the TPP which you can find on the Internet. In reality, I am not incredibly informed when it comes to economics, but while researching this deal, I came across something that concerned me greatly. This was the section pertaining to Intellectual Property. As someone who is fascinated by, and cares greatly about media in general, this bit caught my attention. I believe that Intellectual property and copyright law are very important. If you create something, you should have complete ownership over that thing and be able to profit from it for a certain amount of time. However, this system is being badly abused. Originally, the purpose of copyright law was to protect the artist and make sure he/she received the revenue he/she deserved for his/ her work. However, more recently copyright law has become more about protecting corporations such as movie studios, record labels, etc. I must stress that the TPP is not an agreement that benefits consumers in any way. The agreement is entirely for the benefit of corporations and owners of intellectual property. The first section I will discuss is Article QQ.G.6 which pertains to copyright term extensions. The deal mandates that the copyright term for all countries involved will be
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NSCDS Travels to Wonderland Emma Flannery ’17
T
his January, the Upper School will be tackling its annual winter play, and this year it is “Alice in Wonderland”. You may have seen the Disney or Tim Burton variations of “Alice in Wonderland”, but this production is the most faithful to the original story by Lewis Carroll. Similarly to just about any adaptation, North Shore’s production follows the tale of a curious girl who falls down a rabbit hole into a nonsensical world of talking caterpillars and absurd tea parties. This production, however, introduces less well-known character such as the Knight and the White Queen, and is sure to include plenty of surprises for the audience. In pulling together their interpretation of “Alice in Wonderland”, the actors faced many challenges in building their characters that are often quite irrational. According to Robbie Bay ’17, who will be playing the Mad Hatter, “It is rather challenging to play a character that nobody understands. I’m not always sure how I should say certain lines because I don’t always know what it is I am actually trying to say.” For Emily George ’17, who will be playing Alice, this play is an opportunity to go back in time and use her past experience to create a relatable character. “I can relate back to being seven and what my worldview was. I try not to overcomplicate things because after all, she is essentially a curious, stubborn little girl.” The crew has also faced challenges in preparing for the winter play. For this particular adaptation, the set crew has created a “rake stage”. This stage is raised at the back of stage and then slopes downward towards the edge of the stage. Cameron Speta ’16 who has taken part in thirteen NSCDS plays, comments that he has, “never worked with this type of stage before and it’s going to be an exciting challenge.” So, why come see “Alice in Wonderland”? As Rachel Cantor ’16 says, “It demonstrates the power of imagination and exploration.” Though this may sound clique, as teenagers we can loose our ability of imagination and forget to appreciate all the ridiculous ideas that we are capable of generating. As Cantor says, it is important to remember, “the places you can go just by imagining.” “Alice in Wonderland” will have a preview on January 14th from 4:00-5:30pm and performances on January 15th at 7:30p and January 16th at 4:30pm.
plit Enz was the most successful group of musicians to ever come from New Zealand and one of the most successful from the southern hemisphere. During the late 1970s and early 1980s, this outfit was topping charts and selling out stadiums across the U.K., Australia and their home country with their sleek-but-quirky New Wave Pop Rock sound. However, Split Enz’s-, and undoubtedly, New Zealand’s most defining album to ever grace a turntable was also, oddly enough, the band’s least commercially-successful release. Mental Notes was not a complete flop upon its release in July 1975, reaching #7 in New Zealand and even selling 12,000 copies and reaching #35 in Australia, but, in the ensuing years, the album has become known as one of the greatest and most imaginative pieces of popular music. It truly stands out as a unique album from a unique time, place and group of burgeoning musicians. Trying to categorize Mental Notes is difficult, as there is nothing else quite like it. Many consider this album one of the last great progressive rock pieces from the last great year for the genre, however that doesn’t tell the whole story. The gifted sense of melody of writers Phil Judd and Tim Finn give this album some great pop sensibilities that a progressive band, like say, Genesis, might have missed. Also, unlike many other prog rock albums of the time, Mental Notes has a sense of urgency in its arrangement that gives most of its songs a fast-paced, and compressed string
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