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3. Oath as Member of the Legislative Assembly

I, .........................................................., having been elected as a member of the Legislative Assembly of the State of Singapore, do solemnly swear that I will faithfully discharge my duties as such to the best of my ability, that I will bear true faith and allegiance to the State of Singapore and to the Federation of Malaysia, and that I will preserve, protect and defend the Constitution of the State of Singapore. So help me God.

4. Oath for due execution of office of Prime Minister of other Minister or Parliamentary Secretary

I, ..........................................., being chosen and appointed Prime Minister/Minister/Parliamentary Secretary of the State of Singapore do swear that I will to the best of my judgment at all times when so required freely give my counsel and advice to the Yang di-Pertuan Negara (or any person for the time being lawfully performing the functions of that office) for the good management of the public affairs of the State of Singapore, and I do further swear that I will not on any account, at any time whatsoever, disclose the counsel, advice, opinion or vote of any particular Minister or Parliamentary Secretary and that I will not, except with the authority of the Cabinet and to such extent as may be required for the good management of the affairs of the State of Singapore, directly or indirectly reveal the business or proceedings of the Cabinet or the nature or contents of any document communicated to me as a Minister/Parliamentary Secretary or any matter coming to my knowledge in my capacity as such and that in all things I will be a true and faithful Prime Minister/Minister/Parliamentary Secretary. So help me God.

5. Oath for the due execution of the office of Chairman or other member of the Public Service Commission

I, ................................................., having been appointed to be Chairman/a Member of the Public Service Commission do swear that I will freely and without fear or favour, affection or ill-will, give my counsel and advice in connection with all matters that may be referred to the Public Service Commission and that I will not directly or indirectly reveal any such matters to any unauthorised person or otherwise than in the course of duty. So help me God.

I, ................................................., do swear that I will be faithful and bear true allegiance to His Majesty the Yang di-Pertuan Agong and to His Excellency the Yang di-Pertuan Negara and that I will observe the laws and be a true, loyal and faithful citizen of Singapore. So help me God.

1. The functions of the Government under Part III of the Constitution shall be exercised by such Minister as the Yang di-Pertuan Negara may from time to time direct and references in this Schedule to the Minister shall be construed accordingly.

2. A decision of the Government under Part III of the Constitution shall not be subject to appeal or review in any court.

3. The Minister may delegate to any public officer of the Government any of his functions under Part III of the Constitution or this Schedule relating to citizenship by registration and enrolment and the keeping


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license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/


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132 STAT. 3694 ::: to ensure the usability, interoperability, and usage restrictions of the musical works database.
 * “(F) —
 * “(i) —The mechanical licensing collective shall receive, review, and confirm or reject notices of license from digital music providers, as provided in paragraph (2)(A). The collective shall maintain a current, publicly accessible list of blanket licenses that includes contact information for the licensees and the effective dates of such licenses.
 * “(ii) —The mechanical licensing collective shall receive notices of nonblanket activity from significant nonblanket licensees, as provided in paragraph (6)(A). The collective shall maintain a current, publicly accessible list of notices of nonblanket activity that includes contact information for significant nonblanket licensees and the dates of receipt of such notices.
 * “(G) —
 * “(i) —Upon receiving reports of usage and payments of royalties from digital music providers for covered activities, the mechanical licensing collective shall—
 * “(I) engage in efforts to—
 * “(aa) identify the musical works embodied in sound recordings reflected in such reports, and the copyright owners of such musical works (and shares thereof);
 * “(bb) confirm uses of musical works subject to voluntary licenses and individual download licenses, and the corresponding pro rata amounts to be deducted from royalties that would otherwise be due under the blanket license; and
 * “(cc) confirm proper payment of royalties due;
 * “(II) distribute royalties to copyright owners in accordance with the usage and other information contained in such reports, as well as the ownership and other information contained in the records of the collective; and
 * “(III) deposit into an interest-bearing account, as provided in subparagraph (H)(ii), royalties that cannot be distributed due to—
 * “(aa) an inability to identify or locate a copyright owner of a musical work (or share thereof); or
 * “(bb) a pending dispute before the dispute resolution committee of the mechanical licensing collective.
 * “(ii) —Any royalties recovered by the mechanical licensing collective as a result of efforts to enforce rights or obligations under a blanket license, including through a bankruptcy proceeding or other legal action, shall be distributed to copyright owners based on available usage information and in accordance with the procedures described in

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 that can be carried up to his tongue, is promptly tasted and, if found agreeable, licked. Animals far below the mammals share this trait with the human infant. Especially among the mammals, including man, the trait is prominent: and it traces back to the infant's pleasure in sucking the maternal nipple. The lowest mammal, it may be remembered, which is the intermediate stage to the forms of life below the mammalian, has no breasts: the young lick the mother's entire body, which exudes milk at many places. Among mammals, the overpowering instinct to touch with the lips and tongue, that food may be found and life preserved, is specialized into the inner command to touch and suck the nipple for the same purpose. Out of this grows the trait among children of kissing and licking everything and everyone that they like, including people and pet animals.

On the mother's side, there is an impulse almost as strong to lick her young. The mother cat will commence licking her young almost at the moment of birth; other mammals share the trait. The world's leading scientists are inclined to find the immediate origin of the kiss as we know it in the kiss bestowed by the mother upon her child. Negative evidence is of value here. The maternal kiss is not universal throughout the human world; but it is much more widely distributed than the love kiss, as we know it. Furthermore, there is no locality in which the love kiss is found, where the maternal kiss is missing.

Freud, the psychoanalyst, has laid great em-


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Rh ::: subclauses (I) and (II) of clause (i), on a pro rata basis in proportion to the overall percentage recovery of the total royalties owed, with any pro rata share of royalties that cannot be distributed deposited in an interest-bearing account as provided in subparagraph (H)(ii).
 * “(H) —
 * “(i) —The mechanical licensing collective shall hold accrued royalties associated with particular musical works (and shares of works) that remain unmatched for a period of not less than 3 years after the date on which the funds were received by the mechanical licensing collective, or not less than 3 years after the date on which the funds were accrued by a digital music provider that subsequently transferred such funds to the mechanical licensing collective pursuant to paragraph (10)(B), whichever period expires sooner.
 * “(ii) —Accrued royalties for unmatched works (and shares thereof) shall be maintained by the mechanical licensing collective in an interest-bearing account that earns monthly interest—
 * “(I) at the Federal, short-term rate; and
 * “(II) that accrues for the benefit of copyright owners entitled to payment of such accrued royalties.
 * “(I) —When a copyright owner of an unmatched work (or share of a work) has been identified and located in accordance with the procedures of the mechanical licensing collective, the collective shall—
 * “(i) update the musical works database and the other records of the collective accordingly; and
 * “(ii) provided that accrued royalties for the musical work (or share thereof) have not yet been included in a distribution pursuant to subparagraph (J)(i), pay such accrued royalties and a proportionate amount of accrued interest associated with that work (or share thereof) to the copyright owner, accompanied by a cumulative statement of account reflecting usage of such work and accrued royalties based on information provided by digital music providers to the mechanical licensing collective.
 * “(J) —
 * “(i) —After the expiration of the prescribed holding period for accrued royalties provided in subparagraph (H)(i), the mechanical licensing collective shall distribute such accrued royalties, along with a proportionate share of accrued interest, to copyright owners identified in the records of the collective, subject to the following requirements, and in accordance with the policies and procedures established under clause (ii):
 * “(I) The first such distribution shall occur on or after January 1 of the second full calendar

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 phasis on the close love tie uniting mother and child—a tie frequently too close for the good of either. We have pointed out what the great Viennese overlooked: that the first separate male among animals, appearing at about the stage of the barnacles, was produced as a pocket-husband by the much larger female; and that the first separate male thus mated with his own mother. The roots of this mother-and-son complex, horrendously named the Œdipus complex, are found in this fact. Now we learn that the love kiss originated in the maternal kiss, as we might have expected to find.

An old poser is, Which kissed first, the man or the woman? The answer is simple: the woman. The mother's kiss, in the history of the race, preceded the kiss of love, as it does in the case of each one of us.

Another element enters into the kiss as we know it—the impulse to bite, increased during active loving. The teeth are used widely among animals, to grasp the female mate more firmly during the love episode. Of course, with the spread of the feminist movement during the last century, women have taken over much of man's activity, in all lines. Thus when we read references to a "biting blonde" we do not understand a blond Nordic sheik, but one of the sex long libeled as gentler.

The Two Kinds of Kisses.—Throughout the world there are two main varieties of kisses: the touch, tactile, or lip kiss, osculus Europeanus, and the nose or olfactory kiss, osculus Asiaticus. Most of this study will be devoted to the lip kiss: but the first lesson in the art


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132 STAT. 3696 :::: year to commence after the license availability date, with not less than 1 such distribution to take place during each calendar year thereafter.
 * “(II) Copyright owners’ payment shares for unclaimed accrued royalties for particular reporting periods shall be determined in a transparent and equitable manner based on data indicating the relative market shares of such copyright owners as reflected in reports of usage provided by digital music providers for covered activities for the periods in question, including, in addition to usage data provided to the mechanical licensing collective, usage data provided to copyright owners under voluntary licenses and individual download licenses for covered activities, to the extent such information is available to the mechanical licensing collective. In furtherance of the determination of equitable market shares under this subparagraph—
 * “(aa) the mechanical licensing collective may require copyright owners seeking distributions of unclaimed accrued royalties to provide, or direct the provision of, information concerning the usage of musical works under voluntary licenses and individual download licenses for covered activities; and
 * “(bb) the mechanical licensing collective shall take appropriate steps to safeguard the confidentiality and security of usage, financial, and other sensitive data used to compute market shares in accordance with the confidentiality provisions prescribed by the Register of Copyrights under paragraph (12)(C).
 * “(ii) —The unclaimed royalties oversight committee established under subparagraph (D)(v) shall establish policies and procedures for the distribution of unclaimed accrued royalties and accrued interest in accordance with this subparagraph, including the provision of usage data to copyright owners to allocate payments and credits to songwriters pursuant to clause (iv), subject to the approval of the board of directors of the mechanical licensing collective.
 * “(iii) —The mechanical licensing collective shall—
 * “(I) maintain a publicly accessible online facility with contact information for the collective that lists unmatched musical works (and shares of works), through which a copyright owner may assert an ownership claim with respect to such a work (and a share of such a work);
 * “(II) engage in diligent, good-faith efforts to publicize, throughout the music industry—

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Rh :::::“(aa) the existence of the collective and the ability to claim unclaimed accrued royalties for unmatched musical works (and shares of such works) held by the collective;
 * “(bb) the procedures by which copyright owners may identify themselves and provide contact, ownership, and other relevant information to the collective in order to receive payments of accrued royalties;
 * “(cc) any transfer of accrued royalties for musical works under paragraph (10)(B), not later than 180 days after the date on which the transfer is received; and
 * “(dd) any pending distribution of unclaimed accrued royalties and accrued interest, not less than 90 days before the date on which the distribution is made; and
 * “(III) as appropriate, participate in music industry conferences and events for the purpose of publicizing the matters described in subclause (II).
 * “(iv) —Copyright owners that receive a distribution of unclaimed accrued royalties and accrued interest shall pay or credit a portion to songwriters (or the authorized agents of songwriters) on whose behalf the copyright owners license or administer musical works for covered activities, in accordance with applicable contractual terms, but notwithstanding any agreement to the contrary—
 * “(I) such payments and credits to songwriters shall be allocated in proportion to reported usage of individual musical works by digital music providers during the reporting periods covered by the distribution from the mechanical licensing collective; and
 * “(II) in no case shall the payment or credit to an individual songwriter be less than 50 percent of the payment received by the copyright owner attributable to usage of musical works (or shares of works) of that songwriter.
 * “(K) —The dispute resolution committee established under subparagraph (D)(vi) shall establish policies and procedures—
 * “(i) for copyright owners to address in a timely and equitable manner disputes relating to ownership interests in musical works licensed under this section and allocation and distribution of royalties by the mechanical licensing collective, subject to the approval of the board of directors of the mechanical licensing collective;
 * “(ii) that shall include a mechanism to hold disputed funds in accordance with the requirements described in subparagraph (H)(ii) pending resolution of the dispute; and
 * “(iii) except as provided in paragraph (11)(D), that shall not affect any legal or equitable rights or remedies available to any copyright owner or songwriter

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132 STAT. 3698 ::: concerning ownership of, and entitlement to royalties for, a musical work.
 * “(L) —
 * “(i) —A copyright owner entitled to receive payments of royalties for covered activities from the mechanical licensing collective may, individually or with other copyright owners, conduct an audit of the mechanical licensing collective to verify the accuracy of royalty payments by the mechanical licensing collective to such copyright owner, as follows:
 * “(I) A copyright owner may audit the mechanical licensing collective only once in a year for any or all of the 3 calendar years preceding the year in which the audit is commenced, and may not audit records for any calendar year more than once.
 * “(II) The audit shall be conducted by a qualified auditor, who shall perform the audit during the ordinary course of business by examining the books, records, and data of the mechanical licensing collective, according to generally accepted auditing standards and subject to applicable confidentiality requirements prescribed by the Register of Copyrights under paragraph (12)(C).
 * “(III) The mechanical licensing collective shall make such books, records, and data available to the qualified auditor and respond to reasonable requests for relevant information, and shall use commercially reasonable efforts to facilitate access to relevant information maintained by third parties.
 * “(IV) To commence the audit, any copyright owner shall file with the Copyright Office a notice of intent to conduct an audit of the mechanical licensing collective, identifying the period of time to be audited, and shall simultaneously deliver a copy of such notice to the mechanical licensing collective. The Register of Copyrights shall cause the notice of audit to be published in the Federal Register not later than 45 calendar days after the date on which the notice is received.
 * “(V) The qualified auditor shall determine the accuracy of royalty payments, including whether an underpayment or overpayment of royalties was made by the mechanical licensing collective to each auditing copyright owner, except that, before providing a final audit report to any such copyright owner, the qualified auditor shall provide a tentative draft of the report to the mechanical licensing collective and allow the mechanical licensing collective a reasonable opportunity to respond to the findings, including by clarifying issues and correcting factual errors.
 * “(VI) The auditing copyright owner or owners shall bear the cost of the audit. In case of an underpayment to any copyright owner, the

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text:
Author:Robert Anderson (1770-1833)

Works

 * The bashfu' Wooer

title: Author:Robert Anderson (1770-1833)


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years ago, when I was the Editor of a Correspondence Column, I used to receive heart-broken letters from young men asking for advice and sympathy. They found themselves the object of marked attentions from girls which they scarcely knew how to deal with. They did not wish to give pain or to seem indifferent to a love which they felt was as ardent as it was disinterested, and yet they felt that they could not bestow their hands where their hearts had not spoken. They wrote to me fully and frankly, and as one soul might write to another for relief. I accepted their confidences as under the pledge of a secrecy, never divulging their disclosures beyond the circulation of my newspapers, or giving any hint of their identity other than printing their names and addresses and their letters in full. But I may perhaps without dishonour reproduce one of these letters, and my answer to it, inasmuch as the date is now months ago, and the softening hand of Time has woven


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  its roses—how shall I put it?—the mellow haze of reminiscences has—what I mean is that the young man has gone back to work and is all right again.

Here then is a letter from a young man whose name I must not reveal, but whom I will designate as D. F., and whose address I must not divulge, but will simply indicate as Q. Street, West.

", "For some time past I have been the recipient of very marked attentions from a young lady. She has been calling at the house almost every evening, and has taken me out in her motor, and invited me to concerts and the theatre. On these latter occasions I have insisted on her taking my father with me, and have tried as far as possible to prevent her saying anything to me which would be unfit for father to hear. But my position has become a very difficult one. I do not think it right to accept her presents when I cannot feel that my heart is hers. Yesterday she sent to my house a beautiful bouquet of American Beauty roses addressed to me, and a magnificent bunch of Timothy


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  Hay for father. I do not know what to say. Would it be right for father to keep all this valuable hay? I have confided fully in father, and we have discussed the question of presents. He thinks that there are some that we can keep with propriety, and others that a sense of delicacy forbids us to retain. He himself is going to sort out the presents into the two classes. He thinks that as far as he can see, the Hay is in class B. Meantime I write to you, as I understand that Miss Laura Jean Libby and Miss Beatrix Fairfax are on their vacation, and in any case a friend of mine who follows their writings closely tells me that they are always full.

"I enclose a dollar, because I do not think it right to ask you to give all your valuable time and your best thought without giving you back what it is worth."

On receipt of this I wrote back at once a private and confidential letter which I printed in the following edition of the paper.

", "Your letter has touched me. As soon as I opened it and saw the green and blue tint of the dollar bill which you had so daintily


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  and prettily folded within the pages of your sweet letter, I knew that the note was from someone that I could learn to love, if our correspondence were to continue as it had begun. I took the dollar from your letter and kissed and fondled it a dozen times. Dear unknown boy! I shall always keep that dollar! No matter how much I may need it, or how many necessaries, yes, absolute necessities, of life I may be wanting, I shall always keep that dollar. Do you understand, dear? I shall keep it. I shall not spend it. As far as the use of it goes, it will be just as if you had not sent it. Even if you were to send me another dollar, I should still keep the first one, so that no matter how many you sent, the recollection of one first friendship would not be contaminated with mercenary considerations. When I say dollar, darling, of course an express order, or a postal note, or even stamps would be all the same. But in that case do not address me in care of this office, as I should not like to think of your pretty little letters lying round where others might handle them.

"But now I must stop chatting about myself, for I know that you cannot be interested


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  in a simple old fogey such as I am. Let me talk to you about your letter and about the difficult question it raises for all marriageable young men.

"In the first place, let me tell you how glad I am that you confide in your father. Whatever happens, go at once to your father, put your arms about his neck, and have a good cry together. And you are right, too, about presents. It needs a wiser head than my poor perplexed boy to deal with them. Take them to your father to be sorted, or, if you feel that you must not overtax his love, address them to me in your own pretty hand.

"And now let us talk, dear, as one heart to another. Remember always that if a girl is to have your heart she must be worthy of you. When you look at your own bright innocent face in the mirror, resolve that you will give your hand to no girl who is not just as innocent as you are and no brighter than yourself. So that you must first find out how innocent she is. Ask her quietly and frankly—remember, dear, that the days of false modesty are passing away—whether she has ever been in jail. If she has not (and if you have not), then you know that you are


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 206 From the very first Lenin has advocated this policy, with the expressed belief that Bolshevist-aided revolutions would soon overthrow all existing governments and release him from his obligations.

As early as February, 1919, Tchitcherin, the Soviet Commissary for Foreign Affairs, sent to the governments of Great Britain, France, Italy, Japan and the United States a note in which he said:

At the meeting of the Russian Communist Party on March 15th, 1921, Kameneff used an identical argument (Moscow Wireless, March 18, 1921):


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  dealing with a dear confiding girl who will make you a life mate. Then you must know, too, that her mind is worthy of your own. So many men to-day are led astray by the merely superficial graces and attractions of girls who in reality possess no mental equipment at all. Many a man is bitterly disillusioned after marriage when he realises that his wife cannot solve a quadratic equation, and that he is compelled to spend all his days with a woman who does not know that x squared plus 2xy plus y squared is the same thing, or, I think nearly the same thing, as x plus y squared.

"Nor should the simple domestic virtues be neglected. If a girl desires to woo you, before allowing her to press her suit, ask her if she knows how to press yours. If she can, let her woo; if not, tell her to whoa. But I see I have written quite as much as I need for this column. Won't you write again, just as before, dear boy? "."


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 Rh In the Pravda (November 30th, 1920), Lenin defended the policy of concessions with these expressions:

It must be remembered that these Extraordinary Commissions are the official Soviet bodies for enforcing the "red terror."

In his closing speech at the March (1921) Congress of the Russian Communist Party Lenin exposed all the main elements of Bolshevist policy. His internal policy, as there developed, has been discussed at the end of Chapter VII. It is closely linked with the external policy. Once more—after the adoption of his "new" proposals by the Congress—as in his opening speech, he based everything on the coming world revolution: "But when we look on our party as the hearth of world revolution, and observe the campaign now being conducted


text: Index:John Harmon Mason - Evolution Made Plain - (1923).djvu


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the progress of science is a wonderful thing. One can't help feeling proud of it. I must admit that I do. Whenever I get talking to anyone—that is, to anyone who knows even less about it than I do—about the marvellous development of electricity, for instance, I feel as if I had been personally responsible for it. As for the linotype and the aeroplane and the vacuum house-cleaner, well, I am not sure that I didn't invent them myself. I believe that all generous-hearted men feel just the same way about it.

However, that is not the point I am intending to discuss. What I want to speak about is the progress of medicine. There, if you like, is something wonderful. Any lover of humanity (or of either sex of it) who looks back on the achievements of medical science must feel his heart glow and his right ventricle expand with the pericardiac stimulus of a permissible pride.

Just think of it. A hundred years ago


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Rh :::: mechanical licensing collective shall pay the amounts of any such underpayment to such auditing copyright owner, as appropriate. In case of an overpayment by the mechanical licensing collective, the mechanical licensing collective may debit the account of the auditing copyright owner or owners for such overpaid amounts, or such owner or owners shall refund overpaid amounts to the mechanical licensing collective, as appropriate.
 * “(ii) —Nothing in this subparagraph shall preclude a copyright owner and the mechanical licensing collective from agreeing to audit procedures different from those described in this subparagraph, except that a notice of the audit shall be provided to and published by the Copyright Office as described in clause (i)(IV).
 * “(M) —
 * “(i) —The mechanical licensing collective shall ensure that all material records of the operations of the mechanical licensing collective, including those relating to notices of license, the administration of the claims process of the mechanical licensing collective, reports of usage, royalty payments, receipt and maintenance of accrued royalties, royalty distribution processes, and legal matters, are preserved and maintained in a secure and reliable manner, with appropriate commercially reasonable safeguards against unauthorized access, copying, and disclosure, and subject to the confidentiality requirements prescribed by the Register of Copyrights under paragraph (12)(C) for a period of not less than 7 years after the date of creation or receipt, whichever occurs later.
 * “(ii) —The mechanical licensing collective shall provide prompt access to electronic and other records pertaining to the administration of a copyright owner’s musical works upon reasonable written request of the owner or the authorized representative of the owner.
 * “(4) —A blanket license is subject to, and conditioned upon, the following requirements:
 * “(A) —
 * “(i) —A digital music provider shall report and pay royalties to the mechanical licensing collective under the blanket license on a monthly basis in accordance with clause (ii) and subsection (c)(2)(I), except that the monthly reporting shall be due on the date that is 45 calendar days, rather than 20 calendar days, after the end of the monthly reporting period.
 * “(ii) —In reporting usage of musical works to the mechanical licensing collective, a digital music provider shall provide usage data for musical works used under the blanket license and

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132 STAT. 3700 ::: usage data for musical works used in covered activities under voluntary licenses and individual download licenses. In the report of usage, the digital music provider shall—
 * “(I) with respect to each sound recording embodying a musical work—
 * “(aa) provide identifying information for the sound recording, including sound recording name, featured artist, and, to the extent acquired by the digital music provider in connection with its use of sound recordings of musical works to engage in covered activities, including pursuant to subparagraph (B), sound recording copyright owner, producer, international standard recording code, and other information commonly used in the industry to identify sound recordings and match them to the musical works the sound recordings embody;
 * “(bb) to the extent acquired by the digital music provider in the metadata provided by sound recording copyright owners or other licensors of sound recordings in connection with the use of sound recordings of musical works to engage in covered activities, including pursuant to subparagraph (B), provide information concerning authorship and ownership of the applicable rights in the musical work embodied in the sound recording (including each songwriter, publisher name, and respective ownership share) and the international standard musical work code; and
 * “(cc) provide the number of digital phonorecord deliveries of the sound recording, including limited downloads and interactive streams;
 * “(II) identify and provide contact information for all musical work copyright owners for works embodied in sound recordings as to which a voluntary license, rather than the blanket license, is in effect with respect to the uses being reported; and
 * “(III) provide such other information as the Register of Copyrights shall require by regulation.
 * “(iii) —Reports of usage provided by digital music providers to the mechanical licensing collective shall be in a machine-readable format that is compatible with the information technology systems of the mechanical licensing collective and meets the requirements of regulations adopted by the Register of Copyrights. The Register shall also adopt regulations setting forth requirements under which records of use shall be maintained and made available to the mechanical licensing collective by digital music providers engaged in covered activities under a blanket license.

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Rh :::“(iv) —The Register of Copyrights shall adopt regulations—
 * “(I) setting forth requirements under which records of use shall be maintained and made available to the mechanical licensing collective by digital music providers engaged in covered activities under a blanket license; and
 * “(II) regarding adjustments to reports of usage by digital music providers, including mechanisms to account for overpayment and underpayment of royalties in prior periods.
 * “(B) —A digital music provider shall engage in good-faith, commercially reasonable efforts to obtain from sound recording copyright owners and other licensors of sound recordings made available through the service of such digital music provider information concerning—
 * “(i) sound recording copyright owners, producers, international standard recording codes, and other information commonly used in the industry to identify sound recordings and match them to the musical works the sound recordings embody; and
 * “(ii) the authorship and ownership of musical works, including songwriters, publisher names, ownership shares, and international standard musical work codes.
 * “(C) —A digital music provider and any significant nonblanket licensee shall pay the administrative assessment established under paragraph (7)(D) in accordance with this subsection and applicable regulations.
 * “(D) —
 * “(i) —The mechanical licensing collective may conduct an audit of a digital music provider operating under the blanket license to verify the accuracy of royalty payments by the digital music provider to the mechanical licensing collective as follows:
 * “(I) The mechanical licensing collective may commence an audit of a digital music provider not more frequently than once in any 3-calendar-year period to cover a verification period of not more than the 3 full calendar years preceding the date of commencement of the audit, and such audit may not audit records for any such 3-year verification period more than once.
 * “(II) The audit shall be conducted by a qualified auditor, who shall perform the audit during the ordinary course of business by examining the books, records, and data of the digital music provider, according to generally accepted auditing standards and subject to applicable confidentiality requirements prescribed by the Register of Copyrights under paragraph (12)(C).
 * “(III) The digital music provider shall make such books, records, and data available to the

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132 STAT. 3702 :::: qualified auditor and respond to reasonable requests for relevant information, and shall use commercially reasonable efforts to provide access to relevant information maintained with respect to a digital music provider by third parties.
 * “(IV) To commence the audit, the mechanical licensing collective shall file with the Copyright Office a notice of intent to conduct an audit of the digital music provider, identifying the period of time to be audited, and shall simultaneously deliver a copy of such notice to the digital music provider. The Register of Copyrights shall cause the notice of audit to be published in the Federal Register not later than 45 calendar days after the date on which notice is received.
 * “(V) The qualified auditor shall determine the accuracy of royalty payments, including whether an underpayment or overpayment of royalties was made by the digital music provider to the mechanical licensing collective, except that, before providing a final audit report to the mechanical licensing collective, the qualified auditor shall provide a tentative draft of the report to the digital music provider and allow the digital music provider a reasonable opportunity to respond to the findings, including by clarifying issues and correcting factual errors.
 * “(VI) The mechanical licensing collective shall pay the cost of the audit, unless the qualified auditor determines that there was an underpayment by the digital music provider of not less than 10 percent, in which case the digital music provider shall bear the reasonable costs of the audit, in addition to paying the amount of any underpayment to the mechanical licensing collective. In case of an overpayment by the digital music provider, the mechanical licensing collective shall provide a credit to the account of the digital music provider.
 * “(VII) A digital music provider may not assert section 507 or any other Federal or State statute of limitations, doctrine of laches or estoppel, or similar provision as a defense to a legal action arising from an audit under this subparagraph if such legal action is commenced not more than 6 years after the commencement of the audit that is the basis for such action.
 * “(ii) —Nothing in this subparagraph shall preclude the mechanical licensing collective and a digital music provider from agreeing to audit procedures different from those described in this subparagraph, except that a notice of the audit shall be provided to and published by the Copyright Office as described in clause (i)(IV).
 * “(E) —

title: Page:Hatch-Goodlatte Act.pdf/28


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The First Kiss.—The desire of a man to kiss a girl, and of a girl to be kissed by a man, and to kiss him in return, assumes a heightened form when adolescence is reached by each. Kissing, from the standpoint of its biological function, is a prelude to the ultimate love mating. From the standpoint of inexperienced kissers, it is a temporary substitute for the love hunger,—a substitute which may be all that the man or girl demands for weeks or months or years. From the standpoint of experienced kissers, it is a prelude to the mating; and, where the kissers have not previously mated, is a sort of preliminary test, to see if they are suited.

The immediate object of kissing is mutual pleasure. If you who read this, whether man or woman, ask me whom you are to kiss, I can only answer that you alone can give the answer. No general rules can be laid down. Many men prefer a girl shorter than themselves: yet the ideal mating might conceivably mean equal height, and there are men who prefer a girl taller. As to whether you wish the girl younger or older than yourself, that too depends upon your inclination at the moment. As a rule, the young man often desires an older woman, who is more experienced and—and, in brief, comes closer to his ideal woman,


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 based largely upon his mother. As the man grows older, in proportion as his head remains hollow he desires a younger and younger girl. This is partly because he finds an experienced woman superior to himself: and the average "lordly" male, in all sadness I must confess, prefers an inferior woman to one the man's equal or superior. The choice of age for youth has another meaning as well: the older person, consciously or not, wants to restore his own lost youth in the kisses and caresses of a younger person. This, from the standpoint of the older person, is admirable. Some dark men prefer blonde girls, some prefer girls of their own coloring; and in every case generalities cannot be stated with certainty. If you want to kiss a girl or woman, set about doing it, or, at least, finding out if it will be well received.

The immediate object of kissing, mutual pleasure, as distinguished from the ultimate object, the love embrace, requires that both man and girl be willing. There is no pleasure, except in a man slightly perverted, in kissing a girl entirely against her will. So the man's first task is to find out whether the girl wishes, or is ready, for him to kiss her. How can he find out? The one safe rule is, not by asking directly. The girl rightly assumes that the man who asks for a kiss lacks the experience that will make the act worthwhile to her. The indirect methods vary enormously. It's all right to talk about kissing, and get the girl to agree that a kiss isn't any harm, when people really like each other. She will see through


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 the subterfuge, of course, but, unless she despises its obviousness too much, she will not resent it. Another way is to progress by tentative caresses—touching her hand as if by accident, holding it, sitting close and closer to her, kissing (as if shyly) her shoulder, and the like. If the man's caress is clearly distasteful to the girl, the world is tremendously full of other girls. One or more of the others will bring you more happiness in love, be sure of that. Give the unpleased miss up as a bad job, and move on.

But a pretended resistance is another thing. There are many girls who say "No!" to every approach, and yet thereby intend to invite further and further pursuit on the man's part. How can you tell the real from the sham? Rather than miss a good kiss, if there is any doubt in your mind, proceed on the assumption that the girl really wants a kiss. The very feminine girl frequently pretends this resistance: perhaps to entice you on, perhaps because she has been taught that such things are wrong, and does not yet know that they are right; and perhaps because her temperament requires her to be forced every step of the way. If you can stand the shouldering of the temporary responsibility, in other words, if you enjoy the chase of the victim who pretends unwillingness, stick to her until you have kissed her thoroughly. Surprisingly enough, the girl who seems very masculine often has the same trait. Her pretended masculinity may be a sham; and she may long all the time for your kisses and caresses. The only way to find out


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 is to go ahead: never believe the spoken word in such cases, and believe her actions of rejection only when repeated the Biblical seventy times seven times.

Let us assume that the man has ascertained that the girl is willing to be kissed. If she is to keep up her pretense of opposition, any legitimate surprise kiss is permissible. For my own part, I prefer to leave the protesters to others; the world has enough girls who do not fake this opposition. There is no reason why the protesters should not be left kissless, except for men who enjoy overcoming a struggling faked opposition.

For the girl who is willing to be kissed, the technique of the first kiss requires unusual care and artistry. Don't hurry, as if you had a train to catch. Don't stumble over yourself, and find yourself kissing her ear or hair instead of her mouth—which she will regret as much as you. Take it slowly, in somewhat the following fashion:

If the girl is really being kissed for the first time, or is unused to kissing from men, or shams feeble resistance, it is well to hold her so that she cannot avoid the meeting of lips, when it is finally offered. If you and she are standing, either press her body firmly against your own, or hold one arm so that it can catch and hold her at a moment's indication of squirming away on her part. This with one arm: have the other placed around her shoulder, at the back of her head, so that, if need arises, it can grasp her head and hold it in place for the bestowal of the kiss. If you


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 are seated, the same rule applies for the two arms; unless you are so sure of your ground that you can place the two hands respectfully on her two cheeks, thereby tilting her face to the proper angle. Then without hurrying, bring your lips up until they meet hers. Keep your lips closed: make the kiss chaste, respectful, and not too long. Its purpose, in other words, is not to frighten the timid unkissed darling.

Even if you are bored with these slow preliminaries, remember what is in store for you, and let your face register intense pleasure. Let your expression say, either that this is the first kiss you have ever had, and that you already feel transported to Paradise; or that, if you ever kissed before, you have forgotten everything in the universe except this particular girl and her particular kiss. Actually act, at the moment that the kiss is completed, as if that is all you expected from the girl. For the moment that is what she will actually feel. Quickly enough, she will feel differently.

Only in the rarest cases is it wise to stop with one kiss. Better let both of you miss a trip to Europe, than stop at this point. Normally, you will still continue to let your arms and hands touch her as intimately as possible. A reassuring pressure of your fingers upon her arms, a head bowed, and, in cases, a murmured "I'm sorry, darling! I didn't really mean to— anything to restore her confidence in you, all these come in handy. Then artistically begin to lose control of yourself. Her cheeks next—they must be kissed—oh, so respectfully! A little kiss-nibble at the corner of her mouth tastes


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Rh :::“(i) —A digital music provider shall be in default under a blanket license if the digital music provider—
 * “(I) fails to provide 1 or more monthly reports of usage to the mechanical licensing collective when due;
 * “(II) fails to make a monthly royalty or late fee payment to the mechanical licensing collective when due, in all or material part;
 * “(III) provides 1 or more monthly reports of usage to the mechanical licensing collective that, on the whole, is or are materially deficient as a result of inaccurate, missing, or unreadable data, where the correct data was available to the digital music provider and required to be reported under this section and applicable regulations;
 * “(IV) fails to pay the administrative assessment as required under this subsection and applicable regulations; or
 * “(V) after being provided written notice by the mechanical licensing collective, refuses to comply with any other material term or condition of the blanket license under this section for a period of not less than 60 calendar days.
 * “(ii) —In case of a default by a digital music provider, the mechanical licensing collective may proceed to terminate the blanket license of the digital music provider as follows:
 * “(I) The mechanical licensing collective shall provide written notice to the digital music provider describing with reasonable particularity the default and advising that unless such default is cured not later than 60 calendar days after the date of the notice, the blanket license will automatically terminate at the end of that period.
 * “(II) If the digital music provider fails to remedy the default before the end of the 60-day period described in subclause (I), the license shall terminate without any further action on the part of the mechanical licensing collective. Such termination renders the making of all digital phonorecord deliveries of all musical works (and shares thereof) covered by the blanket license for which the royalty or administrative assessment has not been paid actionable as acts of infringement under section 501 and subject to the remedies provided by sections 502 through 506.
 * “(iii) —The mechanical licensing collective shall provide written notice of any termination under this subparagraph to copyright owners of affected works.
 * “(iv) —A digital music provider that believes a blanket license was improperly terminated by the mechanical licensing collective may seek review of such termination in an appropriate district court of the United States. The

title: Page:Hatch-Goodlatte Act.pdf/29


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132 STAT. 3704 ::: district court shall determine the matter de novo based on the record before the mechanical licensing collective and any additional supporting evidence presented by the parties.
 * “(5) —
 * “(A) —The digital licensee coordinator shall be a single entity that—
 * “(i) is a nonprofit, not owned by any other entity, that is created to carry out responsibilities under this subsection;
 * “(ii) is endorsed by and enjoys substantial support from digital music providers and significant nonblanket licensees that together represent the greatest percentage of the licensee market for uses of musical works in covered activities, as measured over the preceding 3 calendar years;
 * “(iii) is able to demonstrate that it has, or will have prior to the license availability date, the administrative capabilities to perform the required functions of the digital licensee coordinator under this subsection; and
 * “(iv) has been designated by the Register of Copyrights, with the approval of the Librarian of Congress pursuant to section 702, in accordance with subparagraph (B).
 * “(B) —
 * “(i) —The Register of Copyrights shall initially designate the digital licensee coordinator not later than 270 days after the enactment date, in accordance with the same procedure described for designation of the mechanical licensing collective in paragraph (3)(B)(i).
 * “(ii) —Following the initial designation of the digital licensee coordinator, the Register of Copyrights shall, every 5 years, beginning with the fifth full calendar year to commence after the initial designation, determine whether the existing designation should be continued, or a different entity meeting the criteria described in clauses (i) through (iii) of subparagraph (A) should be designated, in accordance with the same procedure described for the mechanical licensing collective in paragraph (3)(B)(ii).
 * “(iii) —If the Register of Copyrights is unable to identify an entity that fulfills each of the qualifications described in clauses (i) through (iii) of subparagraph (A) to serve as the digital licensee coordinator, the Register may decline to designate a digital licensee coordinator. The determination of the Register not to designate a digital licensee coordinator shall not negate or otherwise affect any provision of this subsection except to the limited extent that a provision references the digital licensee coordinator. In such case, the reference to the digital licensee coordinator shall be without effect unless and until a new digital licensee coordinator is designated.

title: Page:Hatch-Goodlatte Act.pdf/30


text:
Author:John Harmon Mason

Works

 * Evolution Made Plain (1923)
 * (ed.) Ruins of Empire by Volney (1924)
 * Matthew Arnold's Literature and Dogma (1924)
 * Great and Mind-liberating Thoughts (1940)

title: Author:John Harmon Mason


text: Index:Hereward Carrington - Yoga Philosophy (1923).djvu


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 inexpressibly sweet, and continues to restore her confidence in you. It lulls her suspicions, and makes her think that all you wished was the one small kiss.

An important next step comes in well here, and may indeed be used as a prelude, in cases where the girl seems absolutely unwilling. Gently bend down her head, and kiss her on the eyelids. If this is the beginning of the whole matter, you may even explain reassuringly what you are about to do. While you are feasting on this kiss, by accident, as it were, you can so tilt her face that the lips are yours. Stray to the ears, for a kiss and a little nip; and then come down to the neck. This is a warm comfy kiss, and, if the girl wears a dress even moderately low-cut, is especially thrilling to her. Now, for the first time, you can begin to put some soul, some unconstraint, in the caress. Holding her body tightly to yours, kiss her passionately on the neck. The touch is intimate and at the same time not calculated to rouse suspicion. It will rouse her insensibly. Keep this up, until you feel her body relaxing in your arms. Now is the time to return triumphantly to the lips; if she tries to get away, use a reassuring "Just one, darling! Just one tiny little one—" What you say makes no difference; the thing to do is to get there. Once you have rearrived at the lips, you may kiss her as passionately as she is able to stand.

Kissing passionately means kissing with more than the closed lips, in general. The Persian "Perfumed Garden" recommends kissing with the whole inside of the mouth. Let your


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 lips now surround hers, as if they were going to engulf them. The electric tingling sensation is hers as well as yours. Sooner or later, she will follow your example, and open her lips slightly. Now is the time to let your tongue speak wordlessly for you. After a long and intense kiss, accompanied by a definite hug or squeeze, you can sit back for a moment's breathing-space. Your girl is no longer unkissed: she has reached the class of the kissed girl, the experienced girl.

The Sophisticated Kiss.—The kissing of an experienced girl is a different matter. Again, it is the man's task to decide, from all the evidence furnished by the girl's reception of his tentative approaches, just how experienced she is, and just how she expects to be kissed. A girl only slightly experienced must be kissed, at the beginning, as slowly and only a bit less respectfully than the sweet unkissed; a girl fully experienced in love will regard such tardiness as a proof that the man is, to use the elegant slang, as slow as a train on the Erie. The general rule is to give as much as you are expected to give: and if you are not too much of a blunderer, it is better to err on the side of giving too much, than too little. Women may forgive an excess of passion in the kiss: for, after all, they too unconsciously desire to be roused into passion. A woman rarely forgives the man who under-kisses her, who gives her less than she desires.

A girl's kiss is self-revealing to a man. If the lips are kept closed and the kiss is deco-


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 rous, this is a warning to go comparatively slow. If the girl's lips are opened, this says that the track is clear. If the mouth is fully opened, and the girl kisses as actively as the man, it might not be a bad idea to cancel all your engagements for the next week or so, and give the girl all the kissing she wants!

With a girl who is experienced, the hug, or body embrace, is very important. This should be more determined now. The first variety is where the man's arm, around the girl's back, presses her bosom against his: and a pressure that temporarily stops the breathing of both of them, at times, is relished by both. A later technique is for the arm to fall at least as low as her waist, and thus lock the two bodies together, while the lips complete the communion. The poet describes it:

The lip kiss now lasts longer than with the inexperienced girl, of course: and tends gradually to become what is called the soul kiss. It need only stop short of the astonishing kiss Mrs. Browning describes in Aurora Leigh, a kiss—

We are not amphibious enough to endure such a kiss. We would have to come up to breathe from time to time. But, to those who are able, this sort of sheik buss is recommended. Toward the North Pole, where the night is six


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 months long, the kiss described has distinct possibilities.

Yet the soul kiss, as the exclusive method, would grow wearisome. The bird peck variety of kiss, which flits tantalizingly all over the girl's face, and strays down to the neck and its environs, is a pleasant intermission between longer osculatory sessions. The three varieties of the soul kiss might be described as (1) that in which the two tongues involved perform a sort of hand wrestle with each other; (2) that in which the girl's tongue is withdrawn inward as far as possible, giving the man the maximum of territory to explore, and (3) that in which the girl does the exploring. Fancier variations of this will suggest themselves. And, of course, in all varieties of the kiss, the thrill is immediately communicated throughout the entire body.

A Girl's Kiss.—Although, as we have seen, the female kissed first in the shape of the maternal lick followed by the maternal kiss—in the ordinary intercourse between man and woman, the man kisses first. The reverse is true, when the girl is more experienced, and is perhaps a woman with a younger man. Then she may with propriety assume the role of the man, gently initiate the unkissed youth, as in our description of the initiation of the unkissed girl; and thereafter lead him up the long path to osculatory sheikdom.

In any kissing, where the man has started first, the one wrong thing is for the girl to remain passive, unless this be merely as an intermission. She should lag, in ideal kissing,


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 a little behind the man; but only a little behind him. As the fire of the kiss tingles throughout the veins of both, it is her cue to respond almost as ardently, and never be merely negative throughout the experience. Few men like the continuing sensation of kissing the stone image on top of a sarcophagus. Nor does the girl secure her greatest pleasure by utter passivity. "It is better to give than to receive" applies to both parties in a kissing episode.

The proper interruption for a spell of kisses given by the man to the girl is for her to reciprocate, and return the kisses. This advice is almost unnecessary, for women are disposed to return with interest the kisses given them.

This is as good a place as any to say a word about the actual significance of the kiss. Pleasant as it is, its indiscriminate use is an abuse. Its proper function is as a prelude, not as a goal achieved. Men and women who play


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 at kissing, intending to stop there, are playing with a fire that easily becomes uncontrolable. Iwan Bloch, in The Sexual Life of Our Time, says that there is a quantitative difference only, and not a qualitative difference, between the chaste stroking of the hair and the first timid kiss, on the one hand, and the ultimate love rapture. Someone has said that the first intentional touching of the skin of the beloved one is a mating half achieved. The Perfumed Garden ends its description of loving:

Goethe describes the ultimate kiss thus:

His final word is that it is a true saying that the woman who permits a man to kiss her will ultimately grant him complete possession. Indeed, a sensitive woman values her kiss as highly as the last favor. Unless a kiss be exchanged merely as a test of mutual attraction, it is well to recall that chastity was accurately described by Lester Ward as selection, and not abstinence: and to select with great care those whom you admit to the gate of kissing, which is almost invariably, with men and women of any maturity, the last locked gate upon the way to the earthly Eden.


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Size of Mouth.—In any kiss, the attitude must be of complete abandonment to the particular kiss involved. It is almost suicidal to go to a kiss with any distaste in the mind—suicidal, that is, to the full pleasure of the kiss. You must make yourself believe that the girl you are kissing, or the man you are kissing, is the most desirable person in the world. For the moment she or he must be: otherwise, it is better to postpone or abandon the kiss. Kiss with your whole heart, or not at all.

When approached in this mood, the problem of the particular geography of the girl's mouth (or the man's, on the part of the girl) becomes, not a matter of taste or distaste, but a matter of engineering. The excessively small mouth is easily kissed, and at times is far less satisfying than a good mouth-filling pair of lips. The medium-sized mouth, in normal cases, gives the greatest pleasure. When the man is confronted with a mouth whose general stretch, if laid on the ground, would apparently reach from Ft. Desbrosses, Alaska, to the corner of Main Street and Zenith Avenue, Skaneateles, New York, the matter is purely one of measuration in applied physics. The safest way is to start at one corner, and gradually progress toward the center, covering ground as effectively as possible in the process. The foolhardy at times make a dive for the very center at the beginning, and may encounter


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 homely aunts, mothers-in-law, and esteemed grandmothers, the cheek is always handy, and is recommended, unless you are fond of the taste of vinegar or peppermint-drops, if the old lady is partial to that Victorian comfit.

The girl, in letting male relatives kiss her, had best be guided in similar fashion. Let her prize her lips, as a medium of osculation, so highly that she does not let them be sampled by any whom accidents of blood give a partial right to. If the young man is attractive, or the old man either, and you want the sensation of the kiss, this is your privilege; but a deft movement will always suffice to substitute a cheek for the more intimate lip smack.

Kissing Your Own Sex.—Physical love between women and women, or between men and men, is looked upon with repugnance by the normally developed among civilized people. Far from being the highest form of love, as Socrates and Sappho respectively described it, we know today that this is an innately sterile type of embrace, and is hence to be avoided by the normally matured.

The custom of men kissing each other, still found in certain countries among our civilized brothers, originated in a time when Socratic love was not essentially uncommon. It has largely passed out as a social custom among us. If a man feels much pleasure in it, it is a matter for self-investigation and understanding, and points toward the perverse. It may be largely disregarded in this study.

The custom of women kissing each other is far more common. It is undeniable that the


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Rh ::“(C) —
 * “(i) —The digital licensee coordinator is authorized to perform the following functions, subject to more particular requirements as described in this subsection:
 * “(I) Establish a governance structure, criteria for membership, and any dues to be paid by its members.
 * “(II) Engage in efforts to enforce notice and payment obligations with respect to the administrative assessment, including by receiving information from and coordinating with the mechanical licensing collective.
 * “(III) Initiate and participate in proceedings before the Copyright Royalty Judges to establish the administrative assessment under this subsection.
 * “(IV) Initiate and participate in proceedings before the Copyright Office with respect to activities under this subsection.
 * “(V) Gather and provide documentation for use in proceedings before the Copyright Royalty Judges to set rates and terms under this section.
 * “(VI) Maintain records of its activities.
 * “(VII) Assist in publicizing the existence of the mechanical licensing collective and the ability of copyright owners to claim royalties for unmatched musical works (and shares of works) through the collective.
 * “(VIII) Engage in such other activities as may be necessary or appropriate to fulfill its responsibilities under this subsection.
 * “(ii) —The digital licensee coordinator may not engage in government lobbying activities, but may engage in the activities described in subclauses (III), (IV), and (V) of clause (i).
 * “(iii) —The digital licensee coordinator shall make reasonable, good-faith efforts to assist the mechanical licensing collective in the efforts of the collective to locate and identify copyright owners of unmatched musical works (and shares of such works) by encouraging digital music providers to publicize the existence of the collective and the ability of copyright owners to claim unclaimed accrued royalties, including by—
 * “(I) posting contact information for the collective at reasonably prominent locations on digital music provider websites and applications; and
 * “(II) conducting in-person outreach activities with songwriters.
 * “(6) —
 * “(A) —
 * “(i) —Not later than 45 calendar days after the license availability date, or 45

title: Page:Hatch-Goodlatte Act.pdf/31


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132 STAT. 3706 ::: calendar days after the end of the first full calendar month in which an entity initially qualifies as a significant nonblanket licensee, whichever occurs later, a significant nonblanket licensee shall submit a notice of nonblanket activity to the mechanical licensing collective. The notice of nonblanket activity shall comply in form and substance with requirements that the Register of Copyrights shall establish by regulation, and a copy shall be made available to the digital licensee coordinator.
 * “(ii) —The notice of nonblanket activity submitted to the mechanical licensing collective shall be accompanied by a report of usage that contains the information described in paragraph (4)(A)(ii), as well as any payment of the administrative assessment required under this subsection and applicable regulations. Thereafter, subject to clause (iii), a significant nonblanket licensee shall continue to provide monthly reports of usage, accompanied by any required payment of the administrative assessment, to the mechanical licensing collective. Such reports and payments shall be submitted not later than 45 calendar days after the end of the calendar month being reported.
 * “(iii) —An entity that has submitted a notice of nonblanket activity to the mechanical licensing collective that has ceased to qualify as a significant nonblanket licensee may so notify the collective in writing. In such case, as of the calendar month in which such notice is provided, such entity shall no longer be required to provide reports of usage or pay the administrative assessment, but if such entity later qualifies as a significant nonblanket licensee, such entity shall again be required to comply with clauses (i) and (ii).
 * “(B) —
 * “(i) —The mechanical licensing collective shall provide monthly reports to the digital licensee coordinator setting forth any significant nonblanket licensees of which the collective is aware that have failed to comply with subparagraph (A).
 * “(ii) —The mechanical licensing collective and digital licensee coordinator shall take appropriate steps to safeguard the confidentiality and security of financial and other sensitive data shared under this subparagraph, in accordance with the confidentiality requirements prescribed by the Register of Copyrights under paragraph (12)(C).
 * “(C) —
 * “(i) —Should the mechanical licensing collective or digital licensee coordinator become aware that a significant nonblanket licensee has failed to comply with subparagraph (A), either may commence an action in an appropriate district

title: Page:Hatch-Goodlatte Act.pdf/32


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Page:The Mystery of the Blue Train.pdf/49

Rh time. I can assure you, my dear father-in-law, I was very soon undeceived."

"I don't know what you are getting at," said Van Aldin, "and I don’t care. You have treated Ruth darned badly."

"Oh, I have," agreed Kettering lightly, "but she's tough, you know. She's your daughter. Underneath the pink-and-white softness of her she's as hard as granite. You have always been known as a hard man, so I have been told, but Ruth is harder than you are. You, at any rate, love one person better than yourself. Ruth never has and never will."

"That is enough," said Van Aldin. "I asked you here so that I could tell you fair and square what I meant to do. My girl has got to have some happiness, and remember this, I am behind her."

Derek Kettering got up and stood by the mantelpiece. He tossed away his cigarette. When he spoke, his voice was very quiet.

"What exactly do you mean by that, I wonder?" he said.

"I mean," said Van Aldin, "that you had better not try to defend the case."

"Oh," said Kettering. "Is that a threat?"

"You can take it any way you please," said Van Aldin.

Kettering drew a chair up to the table. He sat down fronting the millionaire.

"And supposing," he said softly, "that, just for argument's sake, I did defend the case?"

Van Aldin shrugged his shoulders.

"You have not got a leg to stand upon, you young


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Rh ::: court of the United States for damages and injunctive relief. If the significant nonblanket licensee is found liable, the court shall, absent a finding of excusable neglect, award damages in an amount equal to three times the total amount of the unpaid administrative assessment and, notwithstanding anything to the contrary in section 505, reasonable attorney’s fees and costs, as well as such other relief as the court determines appropriate. In all other cases, the court shall award relief as appropriate. Any recovery of damages shall be payable to the mechanical licensing collective as an offset to the collective total costs.
 * “(ii) —Any action described in this subparagraph shall be commenced within the time period described in section 507(b).
 * “(iii) —The ability of the mechanical licensing collective or digital licensee coordinator to bring an action under this subparagraph shall in no way alter, limit or negate any other right or remedy that may be available to any party at law or in equity.
 * “(7) —
 * “(A) —The collective total costs shall be funded by—
 * “(i) an administrative assessment, as such assessment is established by the Copyright Royalty Judges pursuant to subparagraph (D) from time to time, to be paid by—
 * “(I) digital music providers that are engaged, in all or in part, in covered activities pursuant to a blanket license; and
 * “(II) significant nonblanket licensees; and
 * “(ii) voluntary contributions from digital music providers and significant nonblanket licensees as may be agreed with copyright owners.
 * “(B) —
 * “(i) —Except as provided in clause (ii), voluntary contributions by digital music providers and significant nonblanket licensees shall be determined by private negotiation and agreement, and the following conditions apply:
 * “(I) The date and amount of each voluntary contribution to the mechanical licensing collective shall be documented in a writing signed by an authorized agent of the mechanical licensing collective and the contributing party.
 * “(II) Such agreement shall be made available as required in proceedings before the Copyright Royalty Judges to establish or adjust the administrative assessment in accordance with applicable statutory and regulatory provisions and rulings of the Copyright Royalty Judges.
 * “(ii) —Each voluntary contribution described in clause (i) shall be treated for purposes of an administrative assessment

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text:
Page:1955 North Dakota Session Laws.pdf/12

 by reason of federal agencies, and to provide moneys intended and approved for appropriation by the Thirty-third Legislative Assembly of this state but not included in chapter 8, section 1 of the 1953 Session Laws of North Dakota through clerical error.

§ 2. Application.) Application for such funds shall be made to the attorney general by the county commissioners of the county so applying with the approval of the state's attorney and county auditor of such county, and the application shall be supported by itemized statements of extraordinary expenses incurred in law enforcement activities in such county by reason of such agencies in or adjacent to said county.

§ 3. Approval.) The attorney general shall have the duty to make such investigation as shall be deemed necessary and may approve or disapprove or reduce the amount applied for, and no payment or expenditure of any part of the above sum shall be made without the prior approval by the attorney general of the duly verified voucher presented to the state auditor.

§ 4. Term of Appropriation.) This Act shall remain in effect only until June 30, 1955, and any balance remaining of this appropriation after June 30, 1955 shall revert to the general fund.

§ 5. Emergency.) This Act is hereby declared to be an emergency measure and shall be in full force and effect from and after its passage and approval.

Approved March 9, 1955.

CHAPTER 6

H. B. No. 523 (Committee on Appropriations)

NATIONAL CONVENTION DELEGATES

AN ACT

§ 1. Appropriation.) There is hereby appropriated out of any funds in the state treasury, not otherwise appropriated,


text:
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132 STAT. 3708 ::: proceeding as an offset to the collective total costs that would otherwise be recovered through the administrative assessment. Any allocation or reallocation of voluntary contributions between or among individual digital music providers or significant nonblanket licensees shall be a matter of private negotiation and agreement among such parties and outside the scope of the administrative assessment proceeding.
 * “(C) —In the event that the administrative assessment, together with any funding from voluntary contributions as provided in subparagraphs (A) and (B), is inadequate to cover current collective total costs, the collective, with approval of its board of directors, may apply unclaimed accrued royalties on an interim basis to defray such costs, subject to future reimbursement of such royalties from future collections of the assessment.
 * “(D) —
 * “(i) —The administrative assessment shall be used solely and exclusively to fund the collective total costs.
 * “(ii) —The amount and terms of the administrative assessment shall be determined and established in a separate and independent proceeding before the Copyright Royalty Judges, according to the procedures described in clauses (iii) and (iv). The administrative assessment determined in such proceeding shall—
 * “(I) be wholly independent of royalty rates and terms applicable to digital music providers, which shall not be taken into consideration in any manner in establishing the administrative assessment;
 * “(II) be established by the Copyright Royalty Judges in an amount that is calculated to defray the reasonable collective total costs;
 * “(III) be assessed based on usage of musical works by digital music providers and significant nonblanket licensees in covered activities under both compulsory and nonblanket licenses;
 * “(IV) may be in the form of a percentage of royalties payable under this section for usage of musical works in covered activities (regardless of whether a different rate applies under a voluntary license), or any other usage-based metric reasonably calculated to equitably allocate the collective total costs across digital music providers and significant nonblanket licensees engaged in covered activities, and shall include as a component a minimum fee for all digital music providers and significant nonblanket licensees; and
 * “(V) take into consideration anticipated future collective total costs and collections of the administrative assessment, including, as applicable—

title: Page:Hatch-Goodlatte Act.pdf/34


text:
Page:Hatch-Goodlatte Act.pdf/35

Rh :::::“(aa) any portion of past actual collective total costs of the mechanical licensing collective not funded by previous collections of the administrative assessment or voluntary contributions because such collections or contributions together were insufficient to fund such costs;
 * “(bb) any past collections of the administrative assessment and voluntary contributions that exceeded past actual collective total costs, resulting in a surplus; and
 * “(cc) the amount of any voluntary contributions by digital music providers or significant nonblanket licensees in relevant periods, described in subparagraphs (A) and (B) of paragraph (7).
 * “(iii) —The procedure for establishing the initial administrative assessment shall be as follows:
 * “(I) Not later than 270 days after the enactment date, the Copyright Royalty Judges shall commence a proceeding to establish the initial administrative assessment by publishing a notice in the Federal Register seeking petitions to participate.
 * “(II) The mechanical licensing collective and digital licensee coordinator shall participate in the proceeding described in subclause (I), along with any interested copyright owners, digital music providers or significant nonblanket licensees that have notified the Copyright Royalty Judges of their desire to participate.
 * “(III) The Copyright Royalty Judges shall establish a schedule for submission by the parties of information that may be relevant to establishing the administrative assessment, including actual and anticipated collective total costs of the mechanical licensing collective, actual and anticipated collections from digital music providers and significant nonblanket licensees, and documentation of voluntary contributions, as well as a schedule for further proceedings, which shall include a hearing, as the Copyright Royalty Judges determine appropriate.
 * “(IV) The initial administrative assessment shall be determined, and such determination shall be published in the Federal Register by the Copyright Royalty Judges, not later than 1 year after commencement of the proceeding described in this clause. The determination shall be supported by a written record. The initial administrative assessment shall be effective as of the license availability date, and shall continue in effect unless and until an adjusted administrative assessment is established pursuant to an adjustment proceeding under clause (iv).

title: Page:Hatch-Goodlatte Act.pdf/35


text:
Page talk:The Mystery of the Blue Train.pdf/49

mantelpiece or mantel-piece
Wiktionary says that mantel-piece is an archaic form, but was it still in use in 1928 ? -- Beardo (talk) 04:02, 22 January 2024 (UTC)


text:
Page:Hatch-Goodlatte Act.pdf/36

132 STAT. 3710 :::“(iv) —The administrative assessment may be adjusted by the Copyright Royalty Judges periodically, in accordance with the following procedures:
 * “(I) Not earlier than 1 year after the most recent publication of a determination of the administrative assessment by the Copyright Royalty Judges, the mechanical licensing collective, the digital licensee coordinator, or one or more interested copyright owners, digital music providers, or significant nonblanket licensees, may file a petition with the Copyright Royalty Judges in the month of May to commence a proceeding to adjust the administrative assessment.
 * “(II) Notice of the commencement of such proceeding shall be published in the Federal Register in the month of June following the filing of any petition, with a schedule of requested information and additional proceedings, as described in clause (iii)(III). The mechanical licensing collective and digital licensee coordinator shall participate in such proceeding, along with any interested copyright owners, digital music providers, or significant nonblanket licensees that have notified the Copyright Royalty Judges of their desire to participate.
 * “(III) The determination of the adjusted administrative assessment, which shall be supported by a written record, shall be published in the Federal Register during June of the calendar year following the commencement of the proceeding. The adjusted administrative assessment shall take effect January 1 of the year following such publication.
 * “(v) —In lieu of reaching their own determination based on evaluation of relevant data, the Copyright Royalty Judges shall approve and adopt a negotiated agreement to establish the amount and terms of the administrative assessment that has been agreed to by the mechanical licensing collective and the digital licensee coordinator (or if none has been designated, interested digital music providers and significant nonblanket licensees representing more than half of the market for uses of musical works in covered activities), except that the Copyright Royalty Judges shall have the discretion to reject any such agreement for good cause shown. An administrative assessment adopted under this clause shall apply to all digital music providers and significant nonblanket licensees engaged in covered activities during the period the administrative assessment is in effect.
 * “(vi) —The Copyright Royalty Judges shall retain continuing authority to amend a determination of an administrative assessment to correct technical or clerical errors, or modify the terms of implementation, for good cause,

title: Page:Hatch-Goodlatte Act.pdf/36


text:
Page:1955 North Dakota Session Laws.pdf/13

 the sum of $6,000.00 to pay the expenses of delegates to national political conventions in accordance with the provisions of section 16-17181 of the 1953 Supplement to the North Dakota Revised Code of 1943, in the amount audited by the state auditing board.

Approved February 26, 1955.

CHAPTER 7

H. B. No. 522 (Committee on Appropriations)

PRESIDENTIAL ELECTORS

AN ACT

§ 1. Appropriation.) There is hereby appropriated out of any moneys in the state treasury, not otherwise appropriated, the sum of $600.00 for the biennium, or so much thereof as may be necessary to pay the expenses and per diem of presidential electors as provided for in section 16-1605 of the North Dakota Revised Code of 1943.

Approved January 28, 1955.

CHAPTER 8

H. B. No. 509 (Committee on Appropriations)

REFUNDS, MISCELLANEOUS

AN ACT

§ 1. Appropriation.) There is hereby appropriated out of any moneys in the state treasury, not otherwise appropriated,


text: Page:A defence of aristocracy - a text book for Tories (IA cu31924060296278).pdf/9


text:
Page:A defence of aristocracy - a text book for Tories (IA cu31924060296278).pdf/10

 "L'Aristocracie m'eût facilement adoré; aussi bien il m'en fallait une; c'est le vrai, le seul soutien d'une monarchie, son levier, son point résistant; l'État sans elle est un vaisseau sans gouvernail, un vrai ballon dans les airs. Or, le bon de l'Aristocracie, sa magie, est dans son ancienneté, dans le temps."—


text: Page:A defence of aristocracy - a text book for Tories (IA cu31924060296278).pdf/15


text: Page:A defence of aristocracy - a text book for Tories (IA cu31924060296278).pdf/477


text: Page:A defence of aristocracy - a text book for Tories (IA cu31924060296278).pdf/478


text: Page:A defence of aristocracy - a text book for Tories (IA cu31924060296278).pdf/479


text: Page:A defence of aristocracy - a text book for Tories (IA cu31924060296278).pdf/480


text:
Thornburg v. Gingles/Concurrence White

JUSTICE WHITE, concurring.

I join Parts I, II, III-A, III-B, IV-A, and V of the Court's opinion and agree with JUSTICE BRENNAN's opinion as to Part IV-B. I disagree with Part III-C of JUSTICE BRENNAN's opinion.

JUSTICE BRENNAN states in Part III-C that the crucial factor in identifying polarized voting is the race of the voter and that the race of the candidate is irrelevant. Under this test, there is polarized voting if the majority of white voters vote for different candidates than the majority of the blacks, regardless of the race of the candidates. I do not agree. Suppose an eight-member multimember district that is 60% white and 40% black, the blacks being geographically located so that two safe black single-member districts could be drawn. Suppose further that there are six white and two black Democrats running against six white and two black Republicans. Under JUSTICE BRENNAN's test, there would be polarize voting and a likely § 2 violation if all the Republicans, including the two blacks, are elected, and 80% of the blacks in the predominantly black area vote Democratic. I take it that there would also be a violation in a single-member district that is 60% black, but enough of the blacks vote with the whites to elect a single black candidate who is not the choice of the majority of black voters. This is interest-group politics rather than a rule hedging against racial discrimination. I doubt that this is what Congress had in mind in amending § 2 as it did and it seems quite at odds with the discussion in Whitcomb v. Chavis, 403 U.S. 124, 149-160 (1971). Furthermore, on the facts of this case, there is no need to draw the voter/candidate distinction. The District Court did not and reached the current result except, in my view, with respect to District 23.

title: Thornburg v. Gingles/Concurrence White


text: Page:A defence of aristocracy - a text book for Tories (IA cu31924060296278).pdf/16


text: Page:A defence of aristocracy - a text book for Tories (IA cu31924060296278).pdf/476


text:
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 Philip [musingly]: A peeled salmon in a sea of blood.

Dorothy [revolted]: Philip:

Philip: Yes, dear.

Dorothy: You frighten me when you talk like that.

Philip: I’m sorry. I only wanted to frighten myself. I don’t want to talk about beefsteaks.

Dorothy: Poor Philip!

Philip: Bloody ones with gristle. That’s Kipling. I can’t forget these things.

Dorothy: I think that to-morrow if nothing happens—

Philip: Well?

Dorothy: Something will happen.

Philip: No. To-morrow morning I’ll sell some of the furniture.

Dorothy: But it belongs to the landlord.

Philip: I think sometimes that we belong to the landlord. We’ll tell Shy lock we’ve eaten his armchairs. A sofa on toast with little mushrooms and chopped parsley.

Dorothy: I think I heard a knock.

Philip: It’s your fancy knocking against the walls of your head because it cannot sleep.

Dorothy: No, I’m sure I heard a knock.

Philip [rising]: Perhaps it’s the postman with a cheque.


text:
Page:Hatch-Goodlatte Act.pdf/37

Rh ::: with any such amendment to be published in the Federal Register.
 * “(vii) —The determination of an administrative assessment by the Copyright Royalty Judges shall be appealable, not later than 30 calendar days after publication in the Federal Register, to the Court of Appeals for the District of Columbia Circuit by any party that fully participated in the proceeding. The administrative assessment as established by the Copyright Royalty Judges shall remain in effect pending the final outcome of any such appeal, and the mechanical licensing collective, digital licensee coordinator, digital music providers, and significant nonblanket licensees shall implement appropriate financial or other measures not later than 90 days after any modification of the assessment to reflect and account for such outcome.
 * “(viii) —The Copyright Royalty Judges may adopt regulations to govern the conduct of proceedings under this paragraph.
 * “(8) —
 * “(A) —Neither the mechanical licensing collective nor the digital licensee coordinator shall be a party to a proceeding described in subsection (c)(1)(E), except that the mechanical licensing collective or the digital licensee coordinator may gather and provide financial and other information for the use of a party to such a proceeding and comply with requests for information as required under applicable statutory and regulatory provisions and rulings of the Copyright Royalty Judges.
 * “(B) —In any proceeding described in subparagraph (A) in which the Copyright Royalty Judges establish a late fee for late payment of royalties for uses of musical works under this section, such fee shall apply to covered activities under blanket licenses, as follows:
 * “(i) Late fees for past due royalty payments shall accrue from the due date for payment until payment is received by the mechanical licensing collective.
 * “(ii) The availability of late fees shall in no way prevent a copyright owner or the mechanical licensing collective from asserting any other rights or remedies to which such copyright owner or the mechanical licensing collective may be entitled under this title.
 * “(C) —For any covered activity for which no rate or terms have been established by the Copyright Royalty Judges, the mechanical licensing collective and any digital music provider may agree to an interim rate and terms for such activity under the blanket license, and any such rate and terms—
 * “(i) shall be treated as nonprecedential and not cited or relied upon in any ratesetting proceeding before the Copyright Royalty Judges or any other tribunal; and

title: Page:Hatch-Goodlatte Act.pdf/37


text:
Page:Et Cetera, a Collector's Scrap-Book (1924).djvu/30

 Dorothy: It’s much too late for the postman. It must be the landlord come for the rent.

Philip [sitting down again:] Perhaps he will break his neck on his damned stairs. Then we can pick his pockets.

Dorothy: It will make him angry if we don’t go down.

Philip: He will forget that anger when he finds that we can’t pay him.

Dorothy: I can hear his feet on the stairs.

Philip: If I am strong enough I will throw him out of the window.

D. V.: Mr. Philip Oldcastle?

Philip: That is my name. What do you want? I suppose you have come from the landlord.

D. V.: No; at least, not exactly. It’s rather an unusual case. You see, Mr. Oldcastle, my name is Death.

Philip: I do not think that very likely.

D. V. [affronted]: And why, sir?

Philip: Because you are reputed never to come when you are wanted.

D. V. [resting his bag on a chair]: I am glad to hear that for once I am welcome. My experience is


text:
Page:Hatch-Goodlatte Act.pdf/38

132 STAT. 3712 :::“(ii) shall automatically expire upon the establishment of a rate and terms for such covered activity by the Copyright Royalty Judges, under subsection (c)(1)(E).
 * “(D) —The rate and terms established by the Copyright Royalty Judges for a covered activity to which an interim rate and terms have been agreed under subparagraph (C) shall supersede the interim rate and terms and apply retroactively to the inception of the activity under the blanket license. In such case, not later than 90 days after the effective date of the rate and terms established by the Copyright Royalty Judges—
 * “(i) if the rate established by the Copyright Royalty Judges exceeds the interim rate, the digital music provider shall pay to the mechanical licensing collective the amount of any underpayment of royalties due; or
 * “(ii) if the interim rate exceeds the rate established by the Copyright Royalty Judges, the mechanical licensing collective shall credit the account of the digital music provider for the amount of any overpayment of royalties due.
 * “(9) —
 * “(A) —On the license availability date, a blanket license shall, without any interruption in license authority enjoyed by such digital music provider, be automatically substituted for and supersede any existing compulsory license previously obtained under this section by the digital music provider from a copyright owner to engage in 1 or more covered activities with respect to a musical work, except that such substitution shall not apply to any authority obtained from a record company pursuant to a compulsory license to make and distribute permanent downloads unless and until such record company terminates such authority in writing to take effect at the end of a monthly reporting period, with a copy to the mechanical licensing collective.
 * “(B) —Except to the extent provided in subparagraph (A), on and after the license availability date, licenses other than individual download licenses obtained under this section for covered activities prior to the license availability date shall no longer continue in effect.
 * “(C) —A voluntary license for a covered activity in effect on the license availability date will remain in effect unless and until the voluntary license expires according to the terms of the voluntary license, or the parties agree to amend or terminate the voluntary license. In a case where a voluntary license for a covered activity entered into before the license availability date incorporates the terms of this section by reference, the terms so incorporated (but not the rates) shall be those in effect immediately prior to the license availability date, and those terms shall continue

title: Page:Hatch-Goodlatte Act.pdf/38


text:
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 that, though people often call for me, they are always irritated when I arrive.

Dorothy [politely]: Your experience must be a wide one, Mr. Death.

D. V.: I’m afraid I may have given you a wrong impression. I should have made it clear that I am merely Death’s representative for the Parliamentary Division of Battersea.

Dorothy [disappointed]: Oh! I see.

Philip: But granting your bona fides, I still find this personal visit a little extraordinary. You have come for us?

D. V.: I have come for one of you. Dorothy and Philip: We refuse to be separated!

D. V.: I’m very sorry; these awkward situations are only too common. But the notice is only made out for one.

Philip: And for which of us, pray?

D. V. [fumbling in his black bag, and pulling out a document]: That is just the difficulty under which I am laboring. You see, the name is quite clear: Philip Oldcastle. But an unfortunate blot renders it impossible for me to say whether the order is made out for Mr. or Mrs. Philip Oldcastle. In my experience the accident is unique.

Philip: It seems to me to be a piece of abominable carelessness.

D. V.: [nervously]: I had hoped that the


text:
Page:Et Cetera, a Collector's Scrap-Book (1924).djvu/32

 of health of one of you would have enabled me to venture—

Philip: In fact, you were going to chance your arm.

D. V.: As far as I comprehend the significance of that popular phrase, I was.

Philip: You seem to me to be a precious rascal.

Dorothy [interposing]: Philip, you have not offered Death a chair.

D. V. [waving the suggestion aside]: I should be sorry to cause any unnecessary unpleasantness.

Philip: It will take all your time to do that.

D. V.: But I am prepared to meet you in a reasonable spirit.

Philip: Our name is Reason. Mr. and Mrs. Philip Reason.

D. V.: Ha! Ha! Very good, very good, indeed! Now I thought perhaps an appeal to chance. . ..

Philip: You propose that we should toss for it?

D. V.: The—er—spin of a coin

Philip: We haven’t got one.

D. V. [producing half-a-crown]: I had foreseen the possibility.

Philip: Very well, we’ll toss you double or quits.

D. V.: I’m afraid I don’t quite understand.

Philip: You can have both of us or none; it’s simple enough.

D. V. [angrily]: You must see that what you suggest is quite impossible.


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 Philip: Then you will have to lump it.

D. V. [pleadingly]: You are making it very hard for me.

Philip: Your professional reputation is a matter of complete indifference to me. Your personality I find objectionable.

Dorothy: Philip!

Philip [waxing eloquent]: I don’t like your seedy whiskers, or your button boots, or your beastly gloves, or your nasty little black bag.

D. V.: You are grossly personal, sir.

Philip: You have the air of a fraudulent commercial traveller!

D. V.: I warn you—

Philip: A hypocritical undertaker’s man!

D. V.: I warn you—

Philip: An incompetent baby-stealer!

D. V.: You will be sorry presently for this!

Philip: My dear idiot, it’s clear to me that you are helpless. If you make a mistake you will lose your job. That order’s not worth the paper it’s written on.

D. V. [pulling out a Swan fountain-pen]: But it is within my power to alter it.

Dorothy [in alarm]: Oh, Philip, be careful what you say!

Philip: My dear, he doesn’t know which name to put. In any case we can report the circumstances to head office and get him the sack.


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 Philip [pulling himself together]: No, infant. But it is the one house in Battersea whose inmates are absolutely convinced of their immortality.

D. V. [mystified]: And yet you welcomed me just now.

Philip: Of course we did, because our environment is momentarily unpleasant. To our minds you represent a shaking of the dice-box, a cutting of the pack. But we know that you alone are mortal, evanescent—what shall I say? Why, man, you are as transitory as the measles!

D. V.: But now you will have to endure your environment.

Philip: I doubt it. I think it unlikely that the laws that govern this suburb will be overthrown to save your face. If I lie down in front of a steamroller, gravity will change my environment. Are you stronger than gravity? It has nailed your feet to this floor!

D. V.: You would have me cut a sorry figure in the world.

Philip: You must not make me alone responsible. ChristiantyChristianity [sic] grants you power over the worthless sediment of our entities. The ignorant savage, burying his parents with a box of sardines by their side, denies you even that. It is possible to doubt your existence; it is impossible to find you important. And the more I consider the


text: Index:Prabôdha chandrôdaya, or, Rise of the moon of intellect- a spiritual drama ; and, Âtma bodha, or, The knowledge of self (microform) (IA prabdhachandr00krsnrich).pdf