Because bling really is the most important thing in the world!! :confused:

 

so post here to increase your bling.

boo! :lol:

rar

:P

...

:lol: :lol: :lol: :lol:

i need bling otherwise my opinions won't be respected as i am a newbie :)

well welcome to the forums ;)

i could post a load of old bollocks but im just going to post a nice big message!

 

Love Is A Burning Thing

And It Makes A Fiery Ring

Bound By Wild Desire

I Fell Into A Ring Of Fire

 

I Fell Into A Burning Ring Of Fire

I Went Down, Down, Down

And The Flames Went Higher

 

And It Burns, Burns, Burns

The Ring Of Fire

The Ring Of Fire

 

I Fell Into A Burning Ring Of Fire

I Went Down, Down, Down

And The Flames Went Higher

 

And It Burns, Burns, Burns

The Ring Of Fire

The Ring Of Fire

 

The Taste Of Love Is Sweet

When Hearts Like Ours Meet

I Fell For You Like A Child

Oh, But The Fire Went Wild

 

I Fell Into A Burning Ring Of Fire

I Went Down, Down, Down

And The Flames Went Higher

 

And It Burns, Burns, Burns

The Ring Of Fire

The Ring Of Fire

 

I Fell Into A Burning Ring Of Fire

I Went Down, Down, Down

And The Flames Went Higher

 

And It Burns, Burns, Burns

The Ring Of Fire

The Ring Of Fire

 

 

and let it burn!!!!!

do you get more bling for more text?

aa

Coldplay never intended to become England's favorite rock & roll sons when their signature rock melodies ruled the charts throughout 2000. The Brit-rock quartet — composed of Chris Martin (vocals/piano), Jon Buckland (guitar), Will Champion (drums), and Guy Berryman (bass) — yearned to mess around a bit, plucking their own acoustics for fun while attending the University College of London. All had been playing instruments since their early teens and had been influenced by the likes of Bob Dylan, the Stone Roses, Neil Young, and My Bloody Valentine. They never imagined taking reign of the U.K.'s ever-changing rock scene. Each member had come from solid households of working-class parents that encouraged music to be played. Martin, the eldest of five, began playing the piano as a young child. He started playing in bands around age 15 and sought solace in the words of Tom Waits. Buckland, on the other hand, was into the heavy guitar work of Eric Clapton and Jimi Hendrix and was playing guitar by age 11. Scotland native Berryman was into funk instead of indie rock, therefore leaving him to play bass. The multi-instrumentalist, Champion, didn't plan to be a drummer until he joined Coldplay. He favored playing guitar, bass, and the tin whistle, but caught on to playing percussion when the band became official. Coldplay was heart-rending like Travis, passionate like Jeff Buckley, and as fresh as Oasis when they first burst onto the scene, so it was ideal for the press and public to praise them. They played their first gig at a festival for unsigned bands in Manchester, and The Safety EP was issued shortly thereafter. The Brothers and Sisters EP was issued by Fierce Panda and released a year later. Both releases saw only 500 pressings. Their sweet melodies and swooning lyrics landed Coldplay a U.K. deal with Parlophone in April 1999, and the limited-edition five-track, The Blue Room EP, followed that fall. With endearing nods from the media, the dream pop foursome were hailed as the next Travis thanks to their simplistic acoustics and charming personas. Two more EPs, Shiver and Yellow, arrived in spring 2000.

 

Their full-length debut Parachutes, which earned the band a Mercury Music Prize nomination, was released in the U.K. In November 2000, Parachutes saw a U.S. release with Nettwerk; a month later, "Yellow" was chosen as the theme song for all promo spots for ABC. The well-received hype surrounding the band continued throughout 2001 as well, taking on three Brit Awards nominations and a sold-out ten-date tour of the U.S. in February. Rumors of a split consumed most of the U.S. tour. Martin frequently battled nasty colds and voice exhaustion, which led Coldplay to cancel a series of American dates and scrap a European tour. With all gossip aside, Coldplay resumed playing in summer 2001 and earned additional success with second single "Trouble." By fall, they headed into the studio for a second album. Rumor had it that it might be Coldplay's last album, for the band felt they might not capture such brilliance again. A Rush of Blood to the Head was released in August 2002. The CD/DVD package Live 2003 was issued in fall of that year. This concert album captured the band's show at the Horden Pavilion in Sydney, Australia, and highlighted Coldplay's monumental success worldwide with A Rush of Blood to the Head. They were bonafide pop stars. Martin, specifically, earned a higher notch on the celebrity scale by marrying actress Gwyneth Paltrow in December 2003. Paltrow gave birth to the couple's first daughter, Apple Blythe Alison Martin, the following April. Fatherhood didn't stop Martin from working, for Coldplay began recording material for a third album within weeks. Previously recorded material with long-time producer Ken Nelson was scrapped early on while Danton Supple (Morrissey, the Cure) joined Coldplay to complete the recording of X&Y. "Speed of Sound" marked the band's first single from their long-awaited third effort in spring 2005; the album followed in June.

 

 

 

 

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Just click HERE For the Non Albums Lyrics of Coldplay

 

 

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Parachutes

- 2000 -

 

Don't panic

Shiver

Spies

Sparks

Yellow

Trouble

Parachutes

High speed

We never change

Everything's not lost

Life is for living (Hidden track)

A rush of blood to the head

- 2002 -

 

Politik

In My Place

God Put A Smile Upon Your Face

The Scientist

Clocks

Daylight

Green Eyes

Warning Sign

A Whisper

A Rush Of Blood To The Head

Amsterdam

X & Y

- 2005 -

 

Square One

What If

White Shadows

Fix You

Talk

X&Y

Speed of Sound

A Message

Low

The Hardest Part

Swallowed In The Sea

Twisted Logic

'Til kingdom come

How you see the world (Japan bonus track)

 

 

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Add some NEW lyrics (B-sides, live tracks, Cover), want to CORRECT some of them or found a BUG ? Just send a little EMAIL or simply post a message on the FORUM. Thanx !

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Parachutes

 

Don’t Panic

 

Bones, sinking like stones,

All that we fought for,

Homes, places we've grown,

All of us are done for.

 

And we live in a beautiful world,

Yeah we do, yeah we do,

We live in a beautiful world,

 

Bones, sinking like stones,

All that we fought for,

And homes, places we've grown,

All of us are done for.

 

And we live in a beautiful world,

Yeah we do, yeah we do,

We live in a beautiful world.

 

Here we go, here we go

 

And we live in a beautiful world,

Yeah we do, yeah we do,

We live in a beautiful world.

 

Oh, all that I know,

There's nothing here to run from,

'Cause everybody here's got somebody to lean on.

 

*** Thanx a lot to Kersal who updated this one ***

 

Shiver

 

So I look in your direction

But you pay me no attention do you

I know you don't listen to me

'Cause you say you see straight through me don't you

 

But on and on, from the moment I wake

'Till the moment I sleep

I'll be there by your side

Just you try and stop me

I'll be waiting in line

Just to see if you care

 

Did you want me to change

Well I changed for good

And I want you to know

That you'll always get your way

I wanted to say

 

Don't you shiver

Shiver

Sing it loud and clear

I'll always be waiting for you

 

So you know how much I need you

But you never even see me do you

And is this my final chance of getting you

 

But on and on, from the moment I wake

'Till the moment I sleep

I'll be there by your side

Just you try and stop me

I'll be waiting in line

Just to see if you care

 

Did you want me to change

Well I changed for good

And I want you to know

That you'll always get your way

I wanted to say

 

Don't you shiver

Don't you shiver

Sing it loud and clear

I'll always be waiting for you

 

Yeah I'll always be waiting for you

Yeah I'll always be waiting for you

Yeah I'll always be waiting for you

For you

I will always be waiting

 

And it's you I see

But you don't see me

And it's you I hear

So loud and clear

I sing it loud and clear

And I'll always be waiting for you

 

So I look in your direction

But you pay me no attention

And you know how much I need you

But you never even see me

 

*** Thanx a lot to Amar & Raeford & Jayne who corrected some mistakes ***

 

Spies

 

I awake to find no peace of mind

I said, how do you live as a fugitive

Down here where I cannot see so clear

I said, what do I know

Show me the right way to go

 

And the spies came out of the water

But you're feeling so bad 'cause you know

That the spies hide out in every corner

But you can't touch them no

'Cause they're all spies

 

They're all spies

 

I awake to see that no one is free

We're all fugitives

Look at the way we live

Down here, I cannot sleep from fear, no

I said, which way do I turn

Oh, I forget everything I learn

 

That the spies came out of the water

But you're feeling so bad cause you know

Though spies hide out in every corner

But you can't touch them, no

'Cause they're all spies

 

They're all spies

 

And if we don't hide here

They're going to find us

If we don't hide now

They're gonna catch us where we sleep

And if we don't hide here

They're gonna find us

 

But the spies came out of the water

But you're feeling so good cause you know

Though spies hide out in every corner

That they can't touch you, no

'Cause they're just spies

 

They're just spies

They're just spies

They're just spies

They're just spies

 

*** Thanx a lot to Raeford & Lee & Wrig3 & Cheyenne who corrected some mistakes ***

 

Sparks

 

Did I drive you away?

I know what you’ll say,

You say, “Oh, sing one we know,”

But I promise you this,

I’ll always look out for you,

That’s what I’ll do.

 

I say “oh,”, I say “oh.”

 

My heart is yours,

It’s you that I hold on to,

That’s what I do,

And I know I was wrong,

But I won’t let you down,

(Oh yeah, oh yeah, oh yeah, yeah I will, yes I will…)

 

I say “oh,” I cry “oh.”

 

Yeah I saw sparks,

Yeah I saw sparks,

And I saw sparks,

Yeah I saw sparks,

 

Sing it out.

 

La, la, la, la, oh…

La, la, la, la, oh…

La, la, la, la, oh…

 

Yellow

 

Look at the stars,

Look how they shine for you,

And everything you do,

Yeah, they were all yellow.

 

I came along,

I wrote a song for you,

And all the things you do,

And it was called "Yellow."

 

So then I took my turn,

Oh what a thing to have done,

And it was all "Yellow."

 

Your skin

Oh yeah, your skin and bones,

Turn into something beautiful,

You know, you know I love you so,

You know I love you so.

 

I swam across,

I jumped across for you,

Oh what a thing to do.

 

Cos you were all "Yellow,"

I drew a line,

I drew a line for you,

Oh what a thing to do,

And it was all "Yellow."

 

Your skin,

Oh yeah your skin and bones,

Turn into something beautiful,

And you know

For you I'd bleed myself dry

For you I'd bleed myself dry

 

It's true, look how they shine for you,

Look how they shine for you,

Look how they shine for,

Look how they shine for you,

Look how they shine for you,

Look how they shine.

 

Look at the stars,

Look how they shine for you,

And all the things that you do.

 

Trouble

 

Oh no, I see,

A spider web is tangled up with me,

And I lost my head,

The thought of all the stupid things I said,

Oh no what's this?

A spider web, and I'm caught in the middle,

So I turned to run,

The thought of all the stupid things I've done,

 

I never meant to cause you trouble,

And I never meant to do you wrong,

And I, well if I ever caused you trouble,

Oh no, I never meant to do you harm.

 

Oh no I see,

A spider web and it's me in the middle,

So I twist and turn,

But here I am in my little bubble,

 

Singing, I never meant to cause you trouble,

I never meant to do you wrong,

And I, well if I ever caused you trouble,

Oh no, I never meant to do you harm.

 

They spun a web for me,

They spun a web for me,

They spun a web for me.

 

*** Thanx a lot to Raeford & Seuche who corrected this one ***

 

Parachutes

 

In a haze, a stormy haze, I’ll be round

I’ll be loving you always, always.

Here I am and I’ll take my time

Here I am and I’ll wait in line always

Always.

 

High Speed

 

Can anybody fly this thing?

Before my head explodes,

Or my head starts to ring.

 

We’ve been living life inside a bubble,

We’ve been living life inside a bubble.

 

Confidence in you,

Is confidence in me,

Is confidence in high speed.

 

Can anybody stop this thing?

Before my head explodes,

Or my head starts to ring.

 

We’ve been living life inside a bubble,

We’ve been living life inside a bubble.

 

Confidence in you,

Is confidence in me,

Is confidence in high speed.

 

In high speed,

High speed.

 

And high speed you on

High speed you on

High speed you on

High speed you on

 

*** Thanx a lot to Lauren who corrected a few mistakes ***

 

We Never Change

 

I want to live life, and never be cruel

I wanna live life, and be good to you

 

And I wanna fly

I'll never come down

And live my life

And have friends around

 

We never change do we no, no

We never learn do we

So I wanna live, in a wooden house

I wanna live life, and always be true

I wanna live life, and be good to you

 

And I wanna fly

But never come down

And live my life

And have friends around

 

We never change do we

We never learn do we

So I wanna live in a wooden house

And making more friends would be easy

 

Oh, and I don't have a soul to save

Yes and I sin every single day

We never change do we

We never learn do we

 

So I want to live in a wooden house

Where making more friends would be easy

I wanna live where the sun comes out

 

*** Thanx a lot to Raeford & Jeremy who corrected this one ***

 

Everything's Not Lost

 

When I counted up my demons,

Saw there was one for everyday.

With the good ones on my shoulder,

I drove the other ones away.

 

So if you ever feel neglected,

And if you think all is lost,

I'll be counting up my demons, yeah,

Hoping everything's not lost.

 

When you thought that it was over,

You could feel it all around.

Everybody's out to get you,

Don't you let it drag you down.

 

If you ever feel neglected,

And if you think all is lost.

I'll be counting up my demons, yeah,

Hoping everything's not lost.

 

If you ever feel neglected,

And if you think all is lost.

I'll be counting up my demons, yeah,

Hoping everythings not lost.

 

Sing out oh oh oh yeah

Oh oh yeah

Oh oh yeah

Everything's not lost

Come on yeah

Oh oh yeah

Come on yeah

Everything's not lost

Oh oh yeah

Oh oh yeah

Oh oh yeah

Everything's not lost

Come on yeah

Oh oh yeah

Come on yeah

Come on yeah

Oh oh yeah

Come on yeah

Everything's not lost

Sing out yeah

Oh oh yeah

Come on yeah

Everyting's not lost

Come on yeah

Oh oh yeah

Sing out yeah

Everything's not lost

 

*** Thanx a lot to Pretty in pink who corrected some mistakes ***

 

Life is for living

 

Now I never meant,

To do you wrong,

That’s what I came here to say.

 

But if I was wrong,

Then I’m sorry,

I don’t let it stand in our way.

 

As my head just aches,

When I think of,

The things that I shouldn’t have done.

 

But, life is for living,

We all know,

And I don’t wanna live it alone.

 

Sing,

Ah, ah, oh,

Sing,

Ah, ah, oh,

 

And just think,

Ah, ah, oh.

 

 

 

A rush of blood to the head

 

*** Thanx a lot to Davide who sent me official lyrics ***

 

Politik

 

Look at earth from outer space

Everyone must find a place

Give me time and give me space

Give me real, don't give me fake

 

Give me strength, reserve control

Give me heart and give me soul

Give me time give us a kiss

Tell me your own politik

 

And open up your eyes

Open up your eyes

Open up your eyes

Open up your eyes

 

Give me one, 'cause one is best

In confusion, confidence

Give me peace of mind and trust

Don't forget the rest of us

Give me strength, reserve control

Give me heart and give me soul

Wounds that heal and cracks that fix

Tell me your own politik

 

And open up your eyes

Open up your eyes

Open up your eyes

Open up your eyes

Just open up your eyes

 

But give me love over, love over, love over this, I ...

And give me love over, love over, love over this, I ...

 

In My Place

 

In my place, in my place,

Were lines that I couldn't change,

I was lost, oh yeah.

 

I was lost, I was lost,

Crossed lines I shouldn't have crossed,

I was lost, oh yeah.

 

And yeah, how long must you wait for it?

Yeah, how long must you pay for it?

Yeah, how long must you wait for it?

 

I was scared, I was scared,

Tired and under prepared,

But I wait for it.

 

And if you go, if you go,

Leave me down here on my own,

Then I'll wait for you, yeah.

 

Yeah, how long must you wait for it?

Yeah, how long must you pay for it?

Yeah, how long must you wait for it?

Oh for it

 

Sing it please, please, please,

Come back and sing to me,

To me, me.

 

Come on and sing it out, now, now.

Come on and sing it out

To me, me

Come back and sing.

 

In my place, in my place,

Were lines that I couldn't change,

I was lost, oh yeah.

Oh yeah.

 

*** Thanx a lot to Faundez & Fernando & Mustafa for this one ***

 

God Put A Smile Upon Your Face

 

Where do we go, nobody knows

I've got to say I'm on my way down

God give me style and give me grace

God put a smile upon my face

 

Where do we go to draw the line

I've got to say I wasted all your time

Oh honey honey

Where do I go to fall from grace

God put a smile upon your face yeah

 

And ah, when you work it out I'm worse than you

Yeah, when you work it out I wanted to

And ah, when you work out where to draw the line

Your guess is as good as mine

 

Where do we go, nobody knows

Don't ever say you're on your way down when

God gave you style and gave you grace,

And put a smile upon your face oh yeah

 

And ah, when you work it out I'm worse than you

Yeah, when you work it out I want it to

And ah, when you work out where to draw the line

Your guess is as good as mine.

 

It's as good as mine, It's as good as mine

It's as good as mine

 

As good as mine, as good as mine,

As good as mine, as good as mine

 

Where do we go, nobody knows

Don't ever say you're on your way down when

God gave you style and gave you grace

And put a smile upon your face

 

The Scientist

 

Come up to meet you, tell you I'm sorry

You don't know how lovely you are

 

I had to find you

Tell you I need you

Tell you I set you apart

 

Tell me your secrets

And ask me your questions

Oh let's go back to the start

 

Running in circles

Coming up tails

Heads on a silence apart

 

Nobody said it was easy

It's such a shame for us to part

Nobody said it was easy

No one ever said it would be this hard

 

Oh take me back to the start

 

I was just guessing

At numbers and figures

Pulling your puzzles apart

 

Questions of science

Science and progress

Do not speak as loud as my heart

 

Tell me you love me

Come back and haunt me

Oh and I rush to the start

 

Running in circles

Chasing our tails

Coming back as we are

 

Nobody said it was easy

Oh it's such a shame for us to part

Nobody said it was easy

No one ever said it would be so hard

 

I'm going back to the start

 

*** Thanx a lot to TheBestCow & Hugo & Corinne who corrected a mistake ***

 

Clocks

 

The lights go out and I can't be saved

Tides that I tried to swim against

Have brought me down upon my knees

Oh I beg, I beg and plead singing

 

Come out of things unsaid

Shoot an apple off my head and a

Trouble that cant be named

A tiger's waiting to be tamed singing

 

You are

You are

 

Confusion never stops

Closing walls and ticking clocks

Gonna come back and take you home

I could not stop that you now know singing

 

Come out upon my seas,

Cursed missed opportunities

Am I a part of the cure

Or am I part of the disease, singing

 

You are, you are, you are

You are, you are, you are

 

And nothing else compares

And nothing else compares

And nothing else compares

 

You are

You are

 

Home, home where I wanted to go

Home, home where I wanted to go

Home, home where I wanted to go

Home, home where I wanted to go

 

Daylight

 

To my surprise

And my delight

I saw a sunrise

I saw a sunlight.

 

I am nothing

In the dark

And the clouds burst

To show the daylight

 

Oooh and the sun will shine

Yeah on this heart of mine

Ooooh and I realise

Who cannot live without

Ooooh come apart without

 

On a hilltop

On a sky-rise

Like a firstborn

Child

 

And at full tilt

And in full flight

Defeat darkness

Breaking daylight

 

Oooh and the sun will shine

Yeah on this heart of mine

Ooooh and I realise

Who cannot live without

Ooooh and come apart without

Daylight

 

Slowly breaking through the daylight X10

 

Green Eyes

 

Honey you are a rock

Upon which I stand

And I come here to talk

I hope you understand

 

The green eyes

Yeah the spotlight

Shines upon you

 

And how could

Anybody

Deny you

 

I came here with a load

And it feels so much lighter

Now I met you

 

Honey you should know

That I could never go on

Without you

 

Green eyes

 

Honey you are the sea

Upon which I float

And I came here to talk

I think you should know

 

That green eyes

You're the one that I wanted to find

And anyone who tried to deny you,

Must be out of their mind

 

Because I came here with a load

And it feels so much lighter since I met you

 

And honey you should know,

That I could never go on

Without you

 

Green eyes, green eyes, ohohoh...

 

Honey you are a rock

Upon which I stand.

 

A Warning Sign

 

A warning sign

I missed the good part then I realised

I started looking and the bubble burst

I started looking for excuses

 

Come on in

I've got to tell you what a state I'm in

I've got to tell you in my loudest tones

That I started looking for a warning sign

 

When the truth is

I miss you

Yeah the truth is

That I miss you so.

 

A warning sign

You came back to haunt me and I realised

That you were an island and I passed you by

When you were an island to discover

 

Come on in

I've got to tell you what a state I'm in

I've got to tell you in my loudest tones

That I started looking for a warning sign

 

When the truth is

I miss you

Yeah the truth is

That I miss you so

 

And I'm tired

I should not have let you go

 

So I crawl back into your open arms

Yes I crawl back into your open arms

And I crawl back into your open arms

Yes I crawl back into your open arms

 

A Whisper

 

A whisper, a whisper, a whisper, a whisper

A whisper, a whisper, a whisper, a whisper

 

I hear the sound of the ticking of clocks

Who remembers your face

Who remember you when you are gone

 

I hear the sound of the ticking of clocks

Come back and look for me, look for me

When I am lost

 

Just a whisper, a whisper, a whisper, a whisper

Just a whisper, a whisper, a whisper, a whisper

 

Night turns to day

And I still have these questions

Bridges will break

Should I go forwards or backwards.

Night turns to day,

And I still get no answers

 

Just a whisper, a whisper, a whisper, a whisper

Just a whisper, a whisper, a whisper, a whisper

 

I hear the sound of the ticking of clocks

Who remember your face

Who remembers you when you are gone

 

I hear the sound of the ticking of clocks

Come back and look for me, look for me

When I am lost

 

Just a whisper, a whisper, a whisper, a whisper

Just a whisper, a whisper, a whisper, a whisper

 

*** Thanx a lot to Katie who corrected a mistake ***

 

A Rush Of Blood To The Head

 

He said I'm gonna buy this place and burn it down

I'm gonna put it six feet underground

He said "I'm gonna buy this place and watch it fall

Stand here beside me baby in the crumbling walls

 

Oh I'm gonna buy this place and start a fire

Stand here until I fill all your heart's desires

Because I'm gonna buy this place and see it burn

Do back the things it did to you in return

 

Ah ah ah, ah ah ah...

 

He said I'm gonna buy a gun and start a war

If you can tell me something worth fighting for

Oh and I'm gonna buy this place that's what I said

Blame it upon a rush of blood to the head

 

Honey

All the movements you're starting to make

See me crumble and fall on my face

And I know the mistakes that I made

See it all disappear without a trace.

And they call as they beckon you on

They said start as you mean to go on

Start as you mean to go on

 

He said "I'm gonna buy this place and see it go

Stand here beside my baby, watch the orange glow

Some will laugh and some just sit and cry

But you just sit down there and you wonder why

 

So I'm gonna buy a gun and start a war

If you can tell me something worth fighting for

And I'm gonna buy this place that's what I said

Blame it upon a rush of blood to the head

Oh to the head

 

Honey

All the movements you're starting to make

See me crumble and fall on my face

And I know the mistakes that I made

See it all disappear without a trace.

And they call as they beckon you on

They said start as you mean to go on

As you mean to go on, as you mean to go on

 

So meet me by the bridge,

Oh meet me by the lane

When am I going to see

That pretty face again

 

Meet me on the road

Meet me where I said

Blame it all upon

A rush of blood to the head

 

Amsterdam

 

Come on, oh my star is fading

And I swerve out of control

If I, if I'd only waited

I'd not be stuck here in this hole.

 

Come here, oh my star is fading

And I swerve out of control

And I swear I waited and waited,

I've got to get out of this hole

 

But time is on your side

It's on your side now

Not pushing you down and all around

It's no cause for concern

 

Come on, oh my star is fading

And I see no chance of release

I know I'm dead on the surface

But I'm screaming underneath

 

And time is on your side

It's on your side now

Not pushing you down and all around

It's no cause for concern

 

Stuck on the end of this ball and chain

And I'm on my way back down again

Stood on a bridge, tied to a noose

Sick to the stomach

You can say what you mean

But it won't change a thing

I'm sick of the secrets

 

Stood on the edge

Tied to a noose

You came along

And you cut me loose

 

You came along

And you cut me loose

You came along

And you cut me loose

 

 

 

X & Y

 

Square one

 

You’re in control

Is there anywhere you want to go

You’re in control

Is there anything you want to know

The future’s for discovering

The space in which we're travelling

 

From the top of the first page

To the end of the last day

From the start in your own way

You just want

Somebody listening to what you say

It doesn’t matter who you are

 

Under the surface trying to break through

Deciphering the codes in you

I need a compass, draw me a map

I’m on the top, I can’t get back

 

The first line of the first page

To the end of the last place

You were looking

From the start in your own way

You just want

Somebody listening to what you say

It doesn’t matter who you are

 

You just want somebody listening to what you say

You just want somebody listening to what you say

It doesn’t matter who you are

It doesn’t matter who you are

 

Is there anybody out there who

Is lost and hurt and lonely too

Are they bleeding all your colors into one

And if you come undone

As if you’d been run through

Some catapult it fired you

You wonder if your chance will ever come

Or if you’re stuck in square one

 

What if

 

What if there was no light

Nothing wrong, nothing right

What if there was no time

And no reason or rhyme

What if you should decide

That you don’t want me there by your side

That you don’t want me there in your life

 

What if I got it wrong

And no poem or song

Could put right what I got wrong

Or make you feel I belong

What if you should decide

That you don’t want me there by your side

That you don’t want me there in your life

 

Oooh, that’s right

Let’s take a breath, jump over the side

Oooh, that’s right

How can you know it if you don’t even try

Oooh, that’s right

 

Every step that you take

Could be your biggest mistake

It could bend or it could break

But that’s the risk that you take

What if you should decide

That you don’t want me there in your life

That you don’t want me there by your side

 

Ooh, that’s right

Let’s take a breath, jump over the side

Ooh, that’s right

How can you know it when you don’t even try

Ooh, that’s right

 

Ooh, that’s right

Let’s take a breath, jump over the side

Ooh, that’s right

You know the darkness always turns into light

Ooh, that’s right

 

White shadows

 

When I was a young boy I tried to listen

And I want to feel like that

Little white shadows blink and miss them

Part of a system, I am

 

If you ever feel like something's missing

Things you never understand

Little white shadows sparkle and glisten

Part of a system, a plan

 

All this noise i’m waking up

All this space i’m taking up

All the sound is breaking up

Oh oh oh oh...

 

Maybe you'll get what you wanted

Maybe you'll stumble upon it

Everything you ever wanted

In a permanent state

Maybe you'll know when you've seen it

Maybe if you say it you’ll mean it

And when you find it you'll keep it

In a permanent state

A permanent state

 

When I was a young boy I tried to listen

Don’t you want to feel like that

You’re part of the human race

All of the stars in the outer space

Part of a system, a plan

 

All this noise i’m waking up

All the space i’m taking up

I cannot hear you're breaking up

Whoa, oh, oh, oh, oh...

 

Maybe you'll get what you wanted

Maybe you'll stumble upon it

Everything you ever wanted

In a permanent state

Maybe you'll know when you've seen it

Maybe if you'll say it you’ll mean it

And when you'll find it you'll keep it

In a permanent state

A permanent state

 

Swim out on a sea of faces

The tide of the human races

Oh, an answer now is what I need

See it in the new sun rise and

See it breaking on your horizon

Oh, come on love, stay with me

 

Fix you

 

When you try your best but you don’t succeed

When you get what you want but not what you need

When you feel so tired but you can’t sleep

Stuck in reverse

 

And the tears come streaming down your face

When you lose something you can’t replace

When you love someone but it goes to waste

Could it be worse

 

Lights will guide you home

And ignite your bones

And I will try to fix you

 

And high up above or down below

When you’re too in love to let it go

But if you never try you’ll never know

Just what you’re worth

 

Lights will guide you home

And ignite your bones

And I will try to fix you

 

Tears stream down your face

When you lose something you cannot replace

Tears stream down your face

And i…

Tears stream down your face

I promise you I will learn from my mistakes

Tears stream down your face

And i…

 

Lights will guide you home

And ignite your bones

And I will try to fix you

 

*** Thanx a lot to Tasha who fixed (!) this one ***

 

Talk

 

Oh, brother, I can’t, I can’t get through

I’ve been trying hard to reach you

Cause I don’t know what to do

Oh, brother, I can’t believe it’s true

I’m so scared about the future

And I want to talk to you

Oh, I want to talk to you

 

You could take a picture of something you see

In the future where will I be

You could climb a ladder up to the sun

Or write a song nobody had sung

Or do something that’s never been done

 

Are you lost or incomplete

Do you feel like a puzzle

You can’t find your missing piece

Tell me how you feel

Well, I feel like they’re talking in a language I don’t speak

And they’re talking it to me

 

So you take a picture of something you see

In the future where will I be

You could climb a ladder up to the sun

Or write a song nobody had sung

Or do something that’s never been done

Or do something that’s never been done

 

So you don’t know where you’re going

And you want to talk

And you feel like you’re going where you’ve been before

You'll tell anyone who’ll listen but you feel ignored

And nothing’s really making any sense at all

Let’s talk, let’s talk

Let’s talk, let’s talk

 

X & Y

 

Trying hard to speak and

Fighting with my weak hand

Driven to distraction

It’s all part of the plan

When something is broken

And you try to fix it

Trying to repair it

Any way you can

 

I dive in at the deep end

You become my best friend

I want to love you but I don’t know if I can

I know something is broken and i’m trying to fix it

Trying to repair it any way I can

 

Oooh, oooh...

You and me are floating on a tidal wave

Together

You and me are drifting into outer space

And singing oooh, oooh...

 

You and me are floating on a tidal wave

Together

You and me are drifting into outer space

You and me are floating on a tidal wave

Together

You and me are drifting into outer space

And singing oooh, oooh

Oooh, oooh...

 

Speed of sound

 

How long before I get in

Before it starts, before I begin

How long before you decide

Before I know what it feels like

Where to, where do I go

If you never try then you’ll never know

How long do I have to climb

Up on the side of this mountain of mine

 

Look up, I look up at night

Planets are moving at the speed of light

Climb up, up in the trees

Every chance that you get is a chance you seize

How long am I gonna stand

With my head stuck under the sand

I’ll start before I can stop

Or before I see things the right way up

 

All that noise and all that sound

All those places I got found

And birds go flying at the speed of sound

To show you how it all began

Birds came flying from the underground

If you could see it, then you’d understand

 

Ideas that you’ll never find

All the inventors could never design

The buildings that you put up

All Japan and China, all lit up

A sign that I couldn’t read

Or a light that I couldn’t see

Some things you have to believe

But others are puzzles, puzzling me

 

All that noise and all that sound

All those places I got found

And birds go flying at the speed of sound

To show you how it all began

Birds came flying from the underground

If you could see it, then you’d understand

Ah, when you see it, then you’ll understand

 

All those signs I knew what they meant

Some things you can’t invent

Some get made and some get sent

Oh, oh, oh...

 

And birds go flying at the speed of sound

To show you how it all began

Birds came flying from the underground

If you could see it, then you’d understand

Ah, when you see it, then you’ll understand

 

A message

 

My song is love

Love to the loveless shown

And it goes up

You don’t have to be alone

 

Your heavy heart

Is made of stone

And it’s so hard to see clearly

You don’t have to be on your own

You don’t have to be on your own

 

And i’m not gonna take it back

And i’m not gonna say I don’t mean that

You’re the target that i’m aiming at

And I'll get that message home

 

My song is love

My song is love unknown

And i’m on fire for you, clearly

You don’t have to be alone

You don’t have to be on your own

 

And i’m not gonna take it back

And i’m not gonna say I don’t mean that

You’re the target that i’m aiming at

And i’m nothing on my own

Got to get that message home

 

And i’m not going to stand and wait

Not gonna leave it until it’s much too late

Oh, on a platform i’m gonna stand and say

That i’m nothing on my own

And I love you, please come home

 

My song is love, is love unknown

And i’ve got to get that message home

 

Low

 

You see the world in black and white

No color or light

You think you’ll never get it right

But you’re wrong, you might

The sky could fall, could fall on me

The parting of the sea

But you mean more, mean more to me

Than any color I can see

 

All you ever wanted was love

But you never looked hard enough

It’s never gonna give itself up

All you ever wanted to be

Living in perfect symmetry

Nothing is as down or as up

As us

 

You see the world in black and white

Not painted right

You see no meaning to your life

You should try

You should try

 

All you ever wanted was love

But you never looked hard enough

It’s never gonna give itself up

All you ever wanted to be

Living in perfect symmetry

Nothing is as down or as up

Don’t you want to see it come soon

Floating in a big white balloon

Or given on your own silver spoon

Don’t you want to see it come down

There for throwing your arms around

And say "you're not a moment too soon"

 

Cause I feel low

Cause I feel low

Oh, yeah, I feel low

Oh, no

Oh

 

Cause I feel low

Cause I feel low

Oh, yeah, I feel low

Oh, no

Oh

 

The hardest part

 

And the hardest part was letting go, not taking part

It was the hardest part

And the strangest thing was waiting for that bell to ring

It was the strangest start

 

I could feel it go down

Bittersweet I could taste in my mouth

Silver lining the clouds

Oh, and i, I wish that I could work it out

 

And the hardest part was letting go, not taking part

You really broke my heart, oh

And I tried to sing but I couldn’t think of anything

And that was the hardest part

Oh, oh

 

I could feel it go down

You left the sweetest taste in my mouth

The silver lining the clouds

Oh, and i, I wonder what it’s all about

I wonder what it’s all about

 

Everything I know is wrong

Everything I do, it just comes undone

And everything is torn apart

Oh, and that’s the hardest part

That’s the hardest part

Yeah, that’s the hardest part

That’s the hardest part

 

Swallowed in the sea

 

You cut me down a tree and brought it back to me

And that’s what made me see where I was going wrong

You put me on a shelf and kept me for yourself

I can only blame myself, you can only blame me

 

And I could write a song a hundred miles long

Well, that’s where I belong and you belong with me

And I could write it down or spread it all around

Get lost and then get found

Or swallowed in the sea

 

You put me on a line and hung me out to dry

And darling, that’s when I decide to go to sea

You cut me down to size and opened up my eyes

Made me realize what I could not see

 

And I could write a book, the one they’ll say that shook

The world and then it took, it took it back from me

And I could write it down or spread it all around

Get lost and then get found

And you’ll come back to me

Not swallowed in the sea

 

And I could write a song a hundred miles long

Well, that’s where I belong and you belong with me

The streets you’re walking on a thousand houses long

Well, that’s where I belong and you belong with me

Ah, what good is it to live with nothing left to give

Forget but not forgive

Not loving all you see

Oh, the streets you’re walking on a thousand houses long

Well, that’s where I belong and you belong with me

Not swallowed in the sea

You belong with me, not swallowed in the sea

Yeah, you belong with me, not swallowed in the sea

 

*** Thanx a lot to Cellowraith who updated this one ***

 

Twisted logic

 

Sunlight opened up my eyes

To see for the first time

It opened them up

And tonight

Rivers will run dry

And not for the first time

Rivers will run

 

Hundreds of years in the future

There could be computers

Looking for life on earth

Don’t fight for the wrong side

Say what you feel like

Say how you feel

 

You’ll go backwards

But then you’ll go forwards again

You’ll go backwards

But then you’ll go

 

Created then drilled and invaded

If somebody made it

Someone will mess it up

And you are not wrong to

Ask who does this belong to

It belongs to all of us

 

You’ll go backwards

But then you’ll go forwards again

You’ll go backwards

But then you’ll go forwards

You’ll go backwards

But then you’ll go forwards again

You’ll go backwards

But then you’ll go forwards

 

'Til kingdom come

 

One... Two...

Still (Steal?) my heart and hold my tongue

I feel my time, my time has come

Let me in, unlock the door

I never felt this way before

 

And the wheels just keep on turning

The drummer begins to drum

I don’t know which way i’m going

I don’t know which way i’ve come

 

Hold my head inside your hands

I need someone who understands

I need someone, someone who hears

For you i’ve waited all these years

 

For you i’d wait til kingdom come

Until my day, my day is done

And say you’ll come and set me free

Just say you’ll wait, you’ll wait for me

 

In your tears and in your blood

In your fire and in your flood

I hear you laugh, I heard you sing

I wouldn’t change a single thing

 

And the wheels just keep on turning

The drummers begin to drum

I don’t know which way i’m going

I don’t know what i’ve become

 

For you i’d wait til kingdom come

Until my days, my days are done

Say you’ll come and set me free

Just say you’ll wait, you’ll wait for me

Just say you’ll wait, you’ll wait for me

Just say you’ll wait, you’ll wait for me

 

*** Thanx a lot to Kris & John who corrected a mistake ***

 

How you see the world

 

( Japan bonus track )

 

Are you missing something

Looking for something

Tired of everything

Searching and struggling

Are you worried about it

Do you wanna talk about it

Oh you're gonna get it right some time

 

Theres so much to be scared of

And not much to make sense of

Are you running in a circle

You can't be too careful

And you can't relate it

'Cause it's complicated

Oh you're gonna get it right some time

You're gonna get it right some time

 

It's how you see the world

How many times can you say

You can't believe what you learn

 

It's how you see the world

Don't you worry yourself

Your not gonna get hurt

 

Oooohhhhh...

 

Is there something missing

There's nobody listening

Are you scared of what you don't know

Dont wanna end up on your own

You need conversation

And information

 

Ohhhhhhhhh...

 

Gonna get it right sometimes

You just wanna get it right sometimes

 

It's how you see the world

How many times have you heard

You can't believe a word

 

It's how you see the world

Don't you worry yourself

'Cos nobody can learn

 

Oooooh

Oooooh

Ooooooooh

 

That's how you see the world

That's how you see the world

alexdude1991, you're very welcome here! :kiss:

edit: for more bling!

 

edit again: you know if you edit the message and erase everything, you get about the same bling as you did when you posted it originally.

 

then post it again and you get bling again, haha

 

hahahahahha

 

oh yeah?!

 

WHAT IS COPYRIGHT?

Copyright is a form of protection provided by the laws of the United States (title 17, U.S. Code) to the authors of “original works of authorship,” including literary, dramatic, musical, artistic, and certain other intellectual works. This protection is available to both published and unpublished works. Section 106 of the 1976 Copyright Act generally gives the owner of copyright the exclusive right to do and to authorize others to do the following:

 

To reproduce the work in copies or phonorecords;

 

To prepare derivative works based upon the work;

 

To distribute copies or phonorecords of the work to the public by sale or other transfer of ownership, or by rental, lease, or lending;

 

To perform the work publicly, in the case of literary, musical, dramatic, and choreographic works, pantomimes, and motion pictures and other audiovisual works;

 

To display the copyrighted work publicly, in the case of literary, musical, dramatic, and choreographic works, pantomimes, and pictorial, graphic, or sculptural works, including the individual images of a motion picture or other audiovisual work; and

 

In the case of sound recordings, to perform the work publicly by means of a digital audio transmission.

 

In addition, certain authors of works of visual art have the rights of attribution and integrity as described in section 106A of the 1976 Copyright Act. For further information, request Circular 40, “Copyright Registration for Works of the Visual Arts.”

 

It is illegal for anyone to violate any of the rights provided by the copyright law to the owner of copyright. These rights, however, are not unlimited in scope. Sections 107 through 121 of the 1976 Copyright Act establish limitations on these rights. In some cases, these limitations are specified exemptions from copyright liability. One major limitation is the doctrine of "fair use," which is given a statutory basis in section 107 of the 1976 Copyright Act. In other instances, the limitation takes the form of a "compulsory license" under which certain limited uses of copyrighted works are permitted upon payment of specified royalties and compliance with statutory conditions. For further information about the limitations of any of these rights, consult the copyright law or write to the Copyright Office.

 

 

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WHO CAN CLAIM COPYRIGHT

Copyright protection subsists from the time the work is created in fixed form. The copyright in the work of authorship immediately becomes the property of the author who created the work. Only the author or those deriving their rights through the author can rightfully claim copyright.

 

In the case of works made for hire, the employer and not the employee is considered to be the author. Section 101 of the copyright law defines a "work made for hire" as:

 

(1) a work prepared by an employee within the scope of his or her employment; or

(2) a work specially ordered or commissioned for use as:

a contribution to a collective work

a part of a motion picture or other audiovisual work

a translation

a supplementary work

a compilation

an instructional text

a test

answer material for a test

an atlas

if the parties expressly agree in a written instrument signed by them that the work shall be considered a work made for hire....

 

The authors of a joint work are co-owners of the copyright in the work, unless there is an agreement to the contrary.

 

Copyright in each separate contribution to a periodical or other collective work is distinct from copyright in the collective work as a whole and vests initially with the author of the contribution.

 

 

Two General Principles

Mere ownership of a book, manuscript, painting, or any other copy or phonorecord does not give the possessor the copyright. The law provides that transfer of ownership of any material object that embodies a protected work does not of itself convey any rights in the copyright.

Minors may claim copyright, but state laws may regulate the business dealings involving copyrights owned by minors. For information on relevant state laws, consult an attorney.

 

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COPYRIGHT AND NATIONAL ORIGIN OF THE WORK

Copyright protection is available for all unpublished works, regardless of the nationality or domicile of the author.

 

Published works are eligible for copyright protection in the United States if any one of the following conditions is met:

 

On the date of first publication, one or more of the authors is a national or domiciliary of the United States, or is a national, domiciliary, or sovereign authority of a treaty party,* or is a stateless person wherever that person may be domiciled; or

 

* A treaty party is a country or intergovernmental organization other than the United States that is a party to an international agreement.

 

 

The work is first published in the United States or in a foreign nation that, on the date of first publication, is a treaty party. For purposes of this condition, a work that is published in the United States or a treaty party within 30 days after publication in a foreign nation that is not a treaty party shall be considered to be first published in the United States or such treaty party, as the case may be; or

 

The work is a sound recording that was first fixed in a treaty party; or

 

The work is a pictorial, graphic, or sculptural work that is incorporated in a building or other structure, or an architectural work that is embodied in a building and the building or structure is located in the United States or a treaty party; or

 

The work is first published by the United Nations or any of its specialized agencies, or by the Organization of American States; or

 

The work is a foreign work that was in the public domain in the United States prior to 1996 and its copyright was restored under the Uruguay Round Agreements Act (URAA). Request Circular 38b, "Highlights of Copyright Amendments Contained in the Uruguay Round Agreements Act (URAA-GATT)," for further information.

 

The work comes within the scope of a Presidential proclamation.

 

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WHAT WORKS ARE PROTECTED?

Copyright protects "original works of authorship" that are fixed in a tangible form of expression. The fixation need not be directly perceptible so long as it may be communicated with the aid of a machine or device. Copyrightable works include the following categories:

 

literary works;

musical works, including any accompanying words

dramatic works, including any accompanying music

pantomimes and choreographic works

pictorial, graphic, and sculptural works

motion pictures and other audiovisual works

sound recordings

architectural works

These categories should be viewed broadly. For example, computer programs and most "compilations" may be registered as "literary works"; maps and architectural plans may be registered as "pictorial, graphic, and sculptural works."

 

 

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WHAT IS NOT PROTECTED BY COPYRIGHT?

Several categories of material are generally not eligible for federal copyright protection. These include among others:

 

Works that have not been fixed in a tangible form of expression (for example, choreographic works that have not been notated or recorded, or improvisational speeches or performances that have not been written or recorded)

 

Titles, names, short phrases, and slogans; familiar symbols or designs; mere variations of typographic ornamentation, lettering, or coloring; mere listings of ingredients or contents

 

Ideas, procedures, methods, systems, processes, concepts, principles, discoveries, or devices, as distinguished from a description, explanation, or illustration

 

Works consisting entirely of information that is common property and containing no original authorship (for example: standard calendars, height and weight charts, tape measures and rulers, and lists or tables taken from public documents or other common sources)

 

 

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HOW TO SECURE A COPYRIGHT

Copyright Secured Automatically upon Creation

The way in which copyright protection is secured is frequently misunderstood. No publication or registration or other action in the Copyright Office is required to secure copyright. (See following Note.) There are, however, certain definite advantages to registration. See "Copyright Registration."

 

Copyright is secured automatically when the work is created, and a work is "created" when it is fixed in a copy or phonorecord for the first time. "Copies" are material objects from which a work can be read or visually perceived either directly or with the aid of a machine or device, such as books, manuscripts, sheet music, film, videotape, or microfilm. "Phonorecords" are material objects embodying fixations of sounds (excluding, by statutory definition, motion picture soundtracks), such as cassette tapes, CDs, or LPs. Thus, for example, a song (the "work") can be fixed in sheet music (" copies") or in phonograph disks (" phonorecords"), or both.

 

If a work is prepared over a period of time, the part of the work that is fixed on a particular date constitutes the created work as of that date.

 

 

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PUBLICATION

Publication is no longer the key to obtaining federal copyright as it was under the Copyright Act of 1909. However, publication remains important to copyright owners.

 

The 1976 Copyright Act defines publication as follows:

 

"Publication" is the distribution of copies or phonorecords of a work to the public by sale or other transfer of ownership, or by rental, lease, or lending. The offering to distribute copies or phonorecords to a group of persons for purposes of further distribution, public performance, or public display constitutes publication. A public performance or display of a work does not of itself constitute publication.

 

NOTE: Before 1978, federal copyright was generally secured by the act of publication with notice of copyright, assuming compliance with all other relevant statutory conditions. U. S. works in the public domain on January 1, 1978, (for example, works published without satisfying all conditions for securing federal copyright under the Copyright Act of 1909) remain in the public domain under the 1976 Copyright Act.

Certain foreign works originally published without notice had their copyrights restored under the Uruguay Round Agreements Act (URAA). Request Circular 38b and see the "Notice of Copyright" section of this publication for further information.

 

Federal copyright could also be secured before 1978 by the act of registration in the case of certain unpublished works and works eligible for ad interim copyright. The 1976 Copyright Act automatically extends to full term (section 304 sets the term) copyright for all works, including those subject to ad interim copyright if ad interim registration has been made on or before June 30, 1978.

 

 

A further discussion of the definition of "publication" can be found in the legislative history of the 1976 Copyright Act. The legislative reports define "to the public" as distribution to persons under no explicit or implicit restrictions with respect to disclosure of the contents. The reports state that the definition makes it clear that the sale of phonorecords constitutes publication of the underlying work, for example, the musical, dramatic, or literary work embodied in a phonorecord. The reports also state that it is clear that any form of dissemination in which the material object does not change hands, for example, performances or displays on television, is not a publication no matter how many people are exposed to the work. However, when copies or phonorecords are offered for sale or lease to a group of wholesalers, broadcasters, or motion picture theaters, publication does take place if the purpose is further distribution, public performance, or public display.

 

Publication is an important concept in the copyright law for several reasons:

 

Works that are published in the United States are subject to mandatory deposit with the Library of Congress. See discussion on "Mandatory Deposit for Works Published in the United States."

 

Publication of a work can affect the limitations on the exclusive rights of the copyright owner that are set forth in sections 107 through 121 of the law.

 

The year of publication may determine the duration of copyright protection for anonymous and pseudonymous works (when the author's identity is not revealed in the records of the Copyright Office) and for works made for hire.

 

Deposit requirements for registration of published works differ from those for registration of unpublished works. See discussion on "Registration Procedures."

 

When a work is published, it may bear a notice of copyright to identify the year of publication and the name of the copyright owner and to inform the public that the work is protected by copyright. Copies of works published before March 1, 1989, must bear the notice or risk loss of copyright protection. See discussion on "Notice of Copyright" below.

 

 

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NOTICE OF COPYRIGHT

The use of a copyright notice is no longer required under U. S. law, although it is often beneficial. Because prior law did contain such a requirement, however, the use of notice is still relevant to the copyright status of older works.

 

Notice was required under the 1976 Copyright Act. This requirement was eliminated when the United States adhered to the Berne Convention, effective March 1, 1989. Although works published without notice before that date could have entered the public domain in the United States, the Uruguay Round Agreements Act (URAA) restores copyright in certain foreign works originally published without notice. For further information about copyright amendments in the URAA, request Circular 38b.

 

The Copyright Office does not take a position on whether copies of works first published with notice before March 1, 1989, which are distributed on or after March 1, 1989, must bear the copyright notice.

 

Use of the notice may be important because it informs the public that the work is protected by copyright, identifies the copyright owner, and shows the year of first publication. Furthermore, in the event that a work is infringed, if a proper notice of copyright appears on the published copy or copies to which a defendant in a copyright infringement suit had access, then no weight shall be given to such a defendant's interposition of a defense based on innocent infringement in mitigation of actual or statutory damages, except as provided in section 504©(2) of the copyright law. Innocent infringement occurs when the infringer did not realize that the work was protected.

 

The use of the copyright notice is the responsibility of the copyright owner and does not require advance permission from, or registration with, the Copyright Office.

 

Form of Notice for Visually Perceptible Copies

The notice for visually perceptible copies should contain all the following three elements:

 

1. The symbol © (the letter C in a circle), or the word "Copyright," or the abbreviation "Copr."; and

 

2. The year of first publication of the work. In the case of compilations or derivative works incorporating previously published material, the year date of first publication of the compilation or derivative work is sufficient. The year date may be omitted where a pictorial, graphic, or sculptural work, with accompanying textual matter, if any, is reproduced in or on greeting cards, postcards, stationery, jewelry, dolls, toys, or any useful article; and

 

3. The name of the owner of copyright in the work, or an abbreviation by which the name can be recognized, or a generally known alternative designation of the owner.

 

Example: © 2002 John Doe

 

The "C in a circle" notice is used only on "visually perceptible copies." Certain kinds of works--for example, musical, dramatic, and literary works--may be fixed not in "copies" but by means of sound in an audio recording. Since audio recordings such as audio tapes and phonograph disks are "phonorecords" and not "copies," the "C in a circle" notice is not used to indicate protection of the underlying musical, dramatic, or literary work that is recorded.

 

Form of Notice for Phonorecords of Sound Recordings*

* Sound recordings are defined in the law as "works that result from the fixation of a series of musical, spoken, or other sounds, but not including the sounds accompanying a motion picture or other audiovisual work." Common examples include recordings of music, drama, or lectures. A sound recording is not the same as a phonorecord. A phonorecord is the physical object in which works of authorship are embodied. The word "phonorecord" includes cassette tapes, CDs, LPs, 45 r. p. m. disks, as well as other formats.

 

The notice for phonorecords embodying a sound recording should contain all the following three elements:

 

1. The symbol (the letter P in a circle); and

 

2. The year of first publication of the sound recording; and

 

3. The name of the owner of copyright in the sound recording, or an abbreviation by which the name can be recognized, or a generally known alternative designation of the owner. If the producer of the sound recording is named on the phonorecord label or container and if no other name appears in conjunction with the notice, the producer's name shall be considered a part of the notice.

 

Example: 2002 A. B. C. Records Inc.

 

NOTE: Since questions may arise from the use of variant forms of the notice, you may wish to seek legal advice before using any form of the notice other than those given here.

 

 

Position of Notice

The copyright notice should be affixed to copies or phonorecords in such a way as to "give reasonable notice of the claim of copyright." The three elements of the notice should ordinarily appear together on the copies or phonorecords or on the phonorecord label or container. The Copyright Office has issued regulations concerning the form and position of the copyright notice in the Code of Federal Regulations (37 CFR Section 201.20). For more information, request Circular 3, "Copyright Notice."

 

Publications Incorporating U. S. Government Works

Works by the U. S. Government are not eligible for U. S. copyright protection. For works published on and after March 1, 1989, the previous notice requirement for works consisting primarily of one or more U. S. Government works has been eliminated. However, use of a notice on such a work will defeat a claim of innocent infringement as previously described provided the notice also includes a statement that identifies either those portions of the work in which copyright is claimed or those portions that constitute U. S. Government material.

 

Example: © 2002 Jane Brown. Copyright claimed in Chapters 7-10, exclusive of U. S. Government maps

 

Copies of works published before March 1, 1989, that consist primarily of one or more works of the U. S. Government should have a notice and the identifying statement.

 

Unpublished Works

The author or copyright owner may wish to place a copyright notice on any unpublished copies or phonorecords that leave his or her control.

 

Example: Unpublished work © 2002 Jane Doe

 

Omission of the Notice and Errors in Notice

The 1976 Copyright Act attempted to ameliorate the strict consequences of failure to include notice under prior law. It contained provisions that set out specific corrective steps to cure omissions or certain errors in notice. Under these provisions, an applicant had 5 years after publication to cure omission of notice or certain errors. Although these provisions are technically still in the law, their impact has been limited by the amendment making notice optional for all works published on and after March 1, 1989. For further information, request Circular 3, "Copyright Notice."

 

 

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HOW LONG COPYRIGHT PROTECTION ENDURES

Works Originally Created on or after January 1, 1978

A work that is created (fixed in tangible form for the first time) on or after January 1, 1978, is automatically protected from the moment of its creation and is ordinarily given a term enduring for the author's life plus an additional 70 years after the author's death. In the case of "a joint work prepared by two or more authors who did not work for hire," the term lasts for 70 years after the last surviving author's death. For works made for hire, and for anonymous and pseudonymous works (unless the author's identity is revealed in Copyright Office records), the duration of copyright will be 95 years from publication or 120 years from creation, whichever is shorter.

 

Works Originally Created before January 1, 1978, But Not Published or Registered by That Date

These works have been automatically brought under the statute and are now given federal copyright protection. The duration of copyright in these works will generally be computed in the same way as for works created on or after January 1, 1978: the life-plus-70 or 95/120-year terms will apply to them as well. The law provides that in no case will the term of copyright for works in this category expire before December 31, 2002, and for works published on or before December 31, 2002, the term of copyright will not expire before December 31, 2047.

 

Works Originally Created and Published or Registered before January 1, 1978

Under the law in effect before 1978, copyright was secured either on the date a work was published with a copyright notice or on the date of registration if the work was registered in unpublished form. In either case, the copyright endured for a first term of 28 years from the date it was secured. During the last (28th) year of the first term, the copyright was eligible for renewal. The Copyright Act of 1976 extended the renewal term from 28 to 47 years for copyrights that were subsisting on January 1, 1978, or for pre-1978 copyrights restored under the Uruguay Round Agreements Act (URAA), making these works eligible for a total term of protection of 75 years. Public Law 105-298, enacted on October 27, 1998, further extended the renewal term of copyrights still subsisting on that date by an additional 20 years, providing for a renewal term of 67 years and a total term of protection of 95 years.

 

Public Law 102-307, enacted on June 26, 1992, amended the 1976 Copyright Act to provide for automatic renewal of the term of copyrights secured between January 1, 1964, and December 31, 1977. Although the renewal term is automatically provided, the Copyright Office does not issue a renewal certificate for these works unless a renewal application and fee are received and registered in the Copyright Office.

 

Public Law 102-307 makes renewal registration optional. Thus, filing for renewal registration is no longer required in order to extend the original 28-year copyright term to the full 95 years. However, some benefits accrue from making a renewal registration during the 28th year of the original term.

 

For more detailed information on renewal of copyright and the copyright term, request Circular 15, "Renewal of Copyright"; Circular 15a, "Duration of Copyright"; and Circular 15t, "Extension of Copyright Terms."

 

 

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TRANSFER OF COPYRIGHT

Any or all of the copyright owner's exclusive rights or any subdivision of those rights may be transferred, but the transfer of exclusive rights is not valid unless that transfer is in writing and signed by the owner of the rights conveyed or such owner's duly authorized agent. Transfer of a right on a nonexclusive basis does not require a written agreement.

 

A copyright may also be conveyed by operation of law and may be bequeathed by will or pass as personal property by the applicable laws of intestate succession.

 

Copyright is a personal property right, and it is subject to the various state laws and regulations that govern the ownership, inheritance, or transfer of personal property as well as terms of contracts or conduct of business. For information about relevant state laws, consult an attorney.

 

Transfers of copyright are normally made by contract. The Copyright Office does not have any forms for such transfers. The law does provide for the recordation in the Copyright Office of transfers of copyright ownership. Although recordation is not required to make a valid transfer between the parties, it does provide certain legal advantages and may be required to validate the transfer as against third parties. For information on recordation of transfers and other documents related to copyright, request Circular 12, "Recordation of Transfers and Other Documents."

 

Termination of Transfers

Under the previous law, the copyright in a work reverted to the author, if living, or if the author was not living, to other specified beneficiaries, provided a renewal claim was registered in the 28th year of the original term.* The present law drops the renewal feature except for works already in the first term of statutory protection when the present law took effect. Instead, the present law permits termination of a grant of rights after 35 years under certain conditions by serving written notice on the transferee within specified time limits.

 

*The copyright in works eligible for renewal on or after June 26, 1992, will vest in the name of the renewal claimant on the effective date of any renewal registration made during the 28th year of the original term. Otherwise, the renewal copyright will vest in the party entitled to claim renewal as of December 31st of the 28th year.

 

For works already under statutory copyright protection before 1978, the present law provides a similar right of termination covering the newly added years that extended the former maximum term of the copyright from 56 to 95 years. For further information, request Circulars 15a and 15t.

 

 

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INTERNATIONAL COPYRIGHT PROTECTION

There is no such thing as an "international copyright" that will automatically protect an author's writings throughout the entire world. Protection against unauthorized use in a particular country depends, basically, on the national laws of that country. However, most countries do offer protection to foreign works under certain conditions, and these conditions have been greatly simplified by international copyright treaties and conventions. For further information and a list of countries that maintain copyright relations with the United States, request Circular 38a, "International Copyright Relations of the United States."

 

 

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COPYRIGHT REGISTRATION

In general, copyright registration is a legal formality intended to make a public record of the basic facts of a particular copyright. However, registration is not a condition of copyright protection. Even though registration is not a requirement for protection, the copyright law provides several inducements or advantages to encourage copyright owners to make registration. Among these advantages are the following:

 

Registration establishes a public record of the copyright claim.

 

Before an infringement suit may be filed in court, registration is necessary for works of U. S. origin.

 

If made before or within 5 years of publication, registration will establish prima facie evidence in court of the validity of the copyright and of the facts stated in the certificate.

 

If registration is made within 3 months after publication of the work or prior to an infringement of the work, statutory damages and attorney's fees will be available to the copyright owner in court actions. Otherwise, only an award of actual damages and profits is available to the copyright owner.

 

Registration allows the owner of the copyright to record the registration with the U. S. Customs Service for protection against the importation of infringing copies. For additional information, request Publication No. 563 "How to Protect Your Intellectual Property Right," from: U.S. Customs Service, P.O. Box 7404, Washington, D.C. 20044. See the U.S. Customs Service Website at http://www.customs.gov for online publications.

 

Registration may be made at any time within the life of the copyright. Unlike the law before 1978, when a work has been registered in unpublished form, it is not necessary to make another registration when the work becomes published, although the copyright owner may register the published edition, if desired.

 

 

 

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REGISTRATION PROCEDURES

Original Registration

To register a work, send the following three elements in the same envelope or package to:

 

Library of Congress

Copyright Office

101 Independence Avenue, S.E.

Washington, D.C. 20559-6000

 

A properly completed application form.

A nonrefundable filing fee of $30 for each application.

NOTE: Copyright Office fees are subject to change. For current fees, please check the Copyright Office Website at http://www.copyright.gov, write the Copyright Office, or call (202) 707-3000.

 

 

 

A nonreturnable deposit of the work being registered. The deposit requirements vary in particular situations. The general requirements follow. Also note the information under "Special Deposit Requirements."

If the work was first published in the United States on or after January 1, 1978, two complete copies or phonorecords of the best edition.

 

If the work was first published in the United States before January 1, 1978, two complete copies or phonorecords of the work as first published.

 

If the work was first published outside the United States, one complete copy or phonorecord of the work as first published.

 

If sending multiple works, all applications, deposits, and fees should be sent in the same package. If possible, applications should be attached to the appropriate deposit. Whenever possible, number each package (e. g., 1 of 3, 2 of 4) to facilitate processing.

 

What Happens if the Three Elements Are Not Received Together

Applications and fees received without appropriate copies, phonorecords, or identifying material will not be processed and ordinarily will be returned. Unpublished deposits without applications or fees ordinarily will be returned, also. In most cases, published deposits received without applications and fees can be immediately transferred to the collections of the Library of Congress. This practice is in accordance with section 408 of the law, which provides that the published deposit required for the collections of the Library of Congress may be used for registration only if the deposit is "accompanied by the prescribed application and fee...."

 

After the deposit is received and transferred to another service unit of the Library for its collections or other disposition, it is no longer available to the Copyright Office. If you wish to register the work, you must deposit additional copies or phonorecords with your application and fee.

 

Renewal Registration

 

To register a renewal, send:

 

A properly completed application Form RE and, if necessary, Form RE Addendum, and

A nonrefundable filing fee of $60 without Addendum; $90 with Addendum for each application. (See Note above.) Each Addendum form must be accompanied by a deposit representing the work being reviewed. See Circular 15, "Renewal of Copyright."

NOTE: Complete the application form using black ink pen or type. You may photocopy blank application forms. However, photocopied forms submitted to the Copyright Office must be clear, legible, on a good grade of 8-1/2-inch by 11-inch white paper suitable for automatic feeding through a photocopier. The forms should be printed, preferably in black ink, head-to-head so that when you turn the sheet over, the top of page 2 is directly behind the top of page 1. Forms not meeting these requirements may be returned resulting in delayed registration.

 

Special Deposit Requirements

Special deposit requirements exist for many types of works. The following are prominent examples of exceptions to the general deposit requirements:

 

If the work is a motion picture, the deposit requirement is one complete copy of the unpublished or published motion picture and a separate written description of its contents, such as a continuity, press book, or synopsis.

 

If the work is a literary, dramatic, or musical work published only in a phonorecord, the deposit requirement is one complete phonorecord.

 

If the work is an unpublished or published computer program, the deposit requirement is one visually perceptible copy in source code of the first 25 and last 25 pages of the program. For a program of fewer than 50 pages, the deposit is a copy of the entire program. For more information on computer program registration, including deposits for revised programs and provisions for trade secrets, request Circular 61, "Copyright Registration for Computer Programs."

 

If the work is in a CD-ROM format, the deposit requirement is one complete copy of the material, that is, the CD-ROM, the operating software, and any manual(s) accompanying it. If registration is sought for the computer program on the CD-ROM, the deposit should also include a printout of the first 25 and last 25 pages of source code for the program.

 

In the case of works reproduced in three-dimensional copies, identifying material such as photographs or drawings is ordinarily required. Other examples of special deposit requirements (but by no means an exhaustive list) include many works of the visual arts such as greeting cards, toys, fabrics, oversized materials (request Circular 40a, "Deposit Requirements for Registration of Claims to Copyright in Visual Arts Material"); video games and other machine-readable audiovisual works (request Circular 61); automated databases (request Circular 65, "Copyright Registration for Automated Databases"); and contributions to collective works. For information about deposit requirements for group registration of serials, request Circular 62, "Copyright Registration for Serials."

 

If you are unsure of the deposit requirement for your work, write or call the Copyright Office and describe the work you wish to register.

 

Unpublished Collections

Under the following conditions, a work may be registered in unpublished form as a "collection," with one application form and one fee:

 

The elements of the collection are assembled in an orderly form;

The combined elements bear a single title identifying the collection as a whole;

The copyright claimant in all the elements and in the collection as a whole is the same; and

All the elements are by the same author, or, if they are by different authors, at least one of the authors has contributed copyrightable authorship to each element.

An unpublished collection is not indexed under the individual titles of the contents but under the title of the collection.

 

NOTE: A Library of Congress Control Number is different from a copyright registration number. The Cataloging in Publication (CIP) Division of the Library of Congress is responsible for assigning LC Control Numbers and is operationally separate from the Copyright Office. A book may be registered in or deposited with the Copyright Office but not necessarily cataloged and added to the Library's collections. For information about obtaining an LC Control Number, see the following homepage: http://pcn.loc.gov. For information on International Standard Book Numbering (ISBN), write to: ISBN, R. R. Bowker, 630 Central Ave., New Providence, NJ 07974. Call (877) 310-7333. For further information and to apply online, see http://www.isbn.org. For information on International Standard Serial Numbering (ISSN), write to: Library of Congress, National Serials Data Program, Serial Record Division, Washington, D.C. 20540-4160. Call (202) 707-6452. Or obtain information from http://www.loc.gov/issn.

 

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EFFECTIVE DATE OF REGISTRATION

A copyright registration is effective on the date the Copyright Office receives all the required elements in acceptable form, regardless of how long it then takes to process the application and mail the certificate of registration. The time the Copyright Office requires to process an application varies, depending on the amount of material the Office is receiving.

 

If you apply for copyright registration, you will not receive an acknowledgment that your application has been received (the Office receives more than 600,000 applications annually), but you can expect:

 

A letter or a telephone call from a Copyright Office staff member if further information is needed or

 

A certificate of registration indicating that the work has been registered, or if the application cannot be accepted, a letter explaining why it has been rejected.

 

Requests to have certificates available for pickup in the Public Information Office or to have certificates sent by Federal Express or another mail service cannot be honored.

 

If you want to know the date that the Copyright Office receives your material, send it by registered or certified mail and request a return receipt.

 

 

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CORRECTIONS AND AMPLIFICATIONS OF EXISTING REGISTRATIONS

To correct an error in a copyright registration or to amplify the information given in a registration, file a supplementary registration form--Form CA-- with the Copyright Office. The filing fee is $100. (See Note above.) The information in a supplementary registration augments but does not supersede that contained in the earlier registration. Note also that a supplementary registration is not a substitute for an original registration, for a renewal registration, or for recording a transfer of ownership. For further information about supplementary registration, request Circular 8, "Supplementary Copyright Registration."

 

 

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MANDATORY DEPOSIT FOR WORKS PUBLISHED IN THE UNITED STATES

Although a copyright registration is not required, the Copyright Act establishes a mandatory deposit requirement for works published in the United States. See the definition of "publication." In general, the owner of copyright or the owner of the exclusive right of publication in the work has a legal obligation to deposit in the Copyright Office, within 3 months of publication in the United States, two copies (or in the case of sound recordings, two phonorecords) for the use of the Library of Congress. Failure to make the deposit can result in fines and other penalties but does not affect copyright protection.

 

Certain categories of works are exempt entirely from the mandatory deposit requirements, and the obligation is reduced for certain other categories. For further information about mandatory deposit, request Circular 7d, "Mandatory Deposit of Copies or Phonorecords for the Library of Congress."

 

 

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USE OF MANDATORY DEPOSIT TO SATISFY REGISTRATION REQUIREMENTS

For works published in the United States, the copyright law contains a provision under which a single deposit can be made to satisfy both the deposit requirements for the Library and the registration requirements. In order to have this dual effect, the copies or phonorecords must be accompanied by the prescribed application form and filing fee.

 

 

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WHO MAY FILE AN APPLICATION FORM?

The following persons are legally entitled to submit an application form:

 

The author. This is either the person who actually created the work or, if the work was made for hire, the employer or other person for whom the work was prepared.

 

The copyright claimant. The copyright claimant is defined in Copyright Office regulations as either the author of the work or a person or organization that has obtained ownership of all the rights under the copyright initially belonging to the author. This category includes a person or organization who has obtained by contract the right to claim legal title to the copyright in an application for copyright registration.

 

The owner of exclusive right(s). Under the law, any of the exclusive rights that make up a copyright and any subdivision of them can be transferred and owned separately, even though the transfer may be limited in time or place of effect. The term "copyright owner" with respect to any one of the exclusive rights contained in a copyright refers to the owner of that particular right. Any owner of an exclusive right may apply for registration of a claim in the work.

 

The duly authorized agent of such author, other copyright claimant, or owner of exclusive right(s). Any person authorized to act on behalf of the author, other copyright claimant, or owner of exclusive rights may apply for registration.

 

There is no requirement that applications be prepared or filed by an attorney.

 

 

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APPLICATION FORMS

For Original Registration

Form PA: for published and unpublished works of the performing arts (musical and dramatic works, pantomimes and choreographic works, motion pictures and other audiovisual works)

Form SE: for serials, works issued or intended to be issued in successive parts bearing numerical or chronological designations and intended to be continued indefinitely (periodicals, newspapers, magazines, newsletters, annuals, journals, etc.)

Form SR: for published and unpublished sound recordings

Form TX: for published and unpublished nondramatic literary works

Form VA: for published and unpublished works of the visual arts (pictorial, graphic, and sculptural works, including architectural works)

Form G/DN: a specialized form to register a complete month's issues of a daily newspaper when certain conditions are met

Short Form/SE and Form SE/GROUP: specialized SE forms for use when certain requirements are met

Short Forms TX, PA, and VA: short versions of applications for original registration. For further information about using the short forms, request publication SL-7.

Form GATT and Form GATT/GRP: specialized forms to register a claim in a work or group of related works in which U. S. copyright was restored under the 1994 Uruguay Round Agreements Act (URAA). For further information, request Circular 38b.

 

For Renewal Registration

Form RE: for claims to renew copyright in works copyrighted under the law in effect through December 31, 1977 (1909 Copyright Act) and registered during the initial 28-year copyright term

Form RE Addendum: accompanies Form RE for claims to renew copyright in works copyrighted under the 1909 Copyright Act but never registered during their initial 28-year copyright term

 

For Corrections and Amplifications

Form CA: for supplementary registration to correct or amplify information given in the Copyright Office record of an earlier registration

 

For a Group of Contributions to Periodicals

Form GR/CP: an adjunct application to be used for registration of a group of contributions to periodicals in addition to an application Form TX, PA, or VA

 

How to Obtain Application Forms

See "For Further Information."

 

You must have Adobe Acrobat Reader ® installed on your computer to view and print the forms accessed on the Internet. Adobe Acrobat Reader may be downloaded free from Adobe Systems Incorporated through links from the same Internet site from which the forms are available.

 

Print forms head to head (top of page 2 is directly behind the top of page 1) on a single piece of good quality, 8-1/2-inch by 11-inch white paper. To achieve the best quality copies of the application forms, use a laser printer.

 

FILL-IN FORMS AVAILABLE

All Copyright Office forms are available on the Copyright Office Website in fill-in version. Go to http://www.copyright.gov/forms and follow the instructions. The fill-in forms allow you to enter information while the form is displayed on the screen by an Adobe Acrobat Reader product. You may then print the completed form and mail it to the Copyright Office. Fill-in forms provide a clean, sharp printout for your records and for filing with the Copyright Office.

 

 

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FEES

All remittances should be in the form of drafts, that is, checks, money orders, or bank drafts, payable to: Register of Copyrights. Do not send cash. Drafts must be redeemable without service or exchange fee through a U. S. institution, must be payable in U. S. dollars, and must be imprinted with American Banking Association routing numbers. International Money Orders and Postal Money Orders that are negotiable only at a post office are not acceptable.

 

If a check received in payment of the filing fee is returned to the Copyright Office as uncollectible, the Copyright Office will cancel the registration and will notify the remitter.

 

The filing fee for processing an original, supplementary, or renewal claim is nonrefundable, whether or not copyright registration is ultimately made.

 

Do not send cash. The Copyright Office cannot assume any responsibility for the loss of currency sent in payment of copyright fees. For further information, request Circular 4, "Copyright Fees."

 

Certain Fees and Services May Be Charged to a Credit Card

 

Some fees may be charged by telephone and in person in the office. Others may only be charged in person in the office. Credit card payments are generally authorized only for services that do not require filing of applications or other materials. An exception is made for fees related to items that are hand-carried into the Public Information Office.

 

Certifications and Documents Section: These fees may be charged in person in the office or by phone: additional certificates; copies of documents and deposits; searching, locating and retrieving deposits; certifications; and expedited processing.

 

Public Information Office: These fees may only be charged in person in the office, not by phone: standard registration request forms; special handling requests for all standard registration requests; requests for services provided by the Certifications and Documents Section when the request is accompanied by a request for special handling; search requests for which a fee estimate has been provided; additional fee for each claim using the same deposit; full term retention fees; appeal fees; Secure Test processing fee; short fee payments when accompanied by a Remittance Due Notice; in-process retrieval fees; and online service providers fees.

 

Reference and Bibliography Section: Requests for searches on a regular or expedited basis can be charged to a credit card by phone.

 

Records Maintenance Unit: Computer time on COINS, printing from the Optical Disk, and photocopying can be charged in person in the office.

 

Fiscal Control Section: Deposit Accounts maintained by the Fiscal Control Section may be replenished by credit card. See Circular 5, "How to Open and Maintain a Deposit Account in the Copyright Office."

 

NIE recordations and claims filed on Forms GATT and GATT/GRP may be paid by credit card if the card number is included in a separate letter that accompanies the form.

 

NOTE: Copyright Office fees are subject to change. For current fees, please check the Copyright Office Website at http://www.copyright.gov, write the Copyright Office, or call (202) 707-3000.

 

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SEARCH OF COPYRIGHT OFFICE RECORDS

The records of the Copyright Office are open for inspection and searching by the public. Moreover, on request, the Copyright Office will search its records for you at the statutory hourly rate of $75 for each hour or fraction of an hour. (See Note above.) For information on searching the Office records concerning the copyright status or ownership of a work, request Circular 22, "How to Investigate the Copyright Status of a Work," and Circular 23, "The Copyright Card Catalog and the Online Files of the Copyright Office."

 

Copyright Office records in machine-readable form cataloged from January 1, 1978, to the present, including registration and renewal information and recorded documents, are now available for searching from the Copyright Office website at http://www.copyright.gov.

 

 

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FOR FURTHER INFORMATION

Information via the Internet: Circulars, announcements, regulations, other related materials, and all copyright application forms are available from the Copyright Office Website at http://www.copyright.gov.

 

Information by telephone: For general information about copyright, call the Copyright Public Information Office at (202) 707-3000. The TTY number is (202) 707-6737. Information specialists are on duty from 8:30 a. m. to 5:00 p. m. Monday through Friday, eastern time, except federal holidays. Recorded information is available 24 hours a day. Or, if you know which application forms and circulars you want, request them from the Forms and Publications Hotline at (202) 707-9100 24 hours a day. Leave a recorded message.

 

Information by regular mail: Write to:

 

Library of Congress

Copyright Office

Publications Section, LM-455

101 Independence Avenue, S.E.

Washington, D.C. 20559-6000

 

For a list of other material published by the Copyright Office, request Circular 2, "Publications on Copyright."

 

The Copyright Office provides a free electronic mailing list, NewsNet, that issues periodic email messages on the subject of copyright. The messages alert subscribers to hearings, deadlines for comments, new and proposed regulations, new publications, and other copyright-related subjects of interest. NewsNet is not an interactive discussion group. To subscribe, send a message to [email protected]. In the body of the message say: SUBSCRIBE USCOPYRIGHT. or fill in the subscription form online at http://www.copyright.gov/newsnet You will receive a standard welcoming message indicating that your subscription to NewsNet has been accepted.

 

The Copyright Public Information Office is open to the public 8:30 a.m. to 5:00 p.m. Monday through Friday, eastern time, except federal holidays. The office is located in the Library of Congress, James Madison Memorial Building, Room 401, at 101 Independence Avenue, S.E., Washington, D.C., near the Capitol South Metro stop. Information specialists are available to answer questions, provide circulars, and accept applications for registration. Access for disabled individuals is at the front door on Independence Avenue, S.E.

 

The Copyright Office is not permitted to give legal advice. If information or guidance is needed on matters such as disputes over the ownership of a copyright, suits against possible infringers, the procedure for getting a work published, or the method of obtaining royalty payments, it may be necessary to consult an attorney

 

Library of Congress

Copyright Office

101 Independence Avenue, S. E.

Washington, D.C. 20559-6000

 

http://www.copyright.gov

 

Rev: December 2004

 

Format Note:

This electronic version has been altered slightly from the original printed text for presentation on the World Wide Web. For a copy of the original circular, consult the PDF version or write to Copyright Office, 101 Independence Avenue S.E., Washington, D.C. 20559-6000.

 

Wikipedia:Copyrights

From Wikipedia, the free encyclopedia.

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WP:Copyrights

WP:COPY

This page is an official policy on Wikipedia. It has wide acceptance among editors and is considered a standard that all users should follow. Feel free to edit the page as needed, but please make sure that changes you make to this policy reflect consensus before you make them.

 

The license Wikipedia uses grants free access to our content in the same sense as free software is licensed freely. This principle is known as copyleft. That is to say, Wikipedia content can be copied, modified, and redistributed so long as the new version grants the same freedoms to others and acknowledges the authors of the Wikipedia article used (a direct link back to the article satisfies our author credit requirement). Wikipedia articles therefore will remain free forever and can be used by anybody subject to certain restrictions, most of which serve to ensure that freedom.

 

To fulfill the above goals, the text contained in Wikipedia is licensed to the public under the GNU Free Documentation License (GFDL). The full text of this license is at Wikipedia:Text of the GNU Free Documentation License.

 

Permission is granted to copy, distribute and/or modify this document under the terms of the GNU Free Documentation License, Version 1.2 or any later version published by the Free Software Foundation; with no Invariant Sections, with no Front-Cover Texts, and with no Back-Cover Texts.

A copy of the license is included in the section entitled "GNU Free Documentation License".

Content on Wikipedia is covered by disclaimers.

The English text of the GFDL is the only legally binding document; what follows is our interpretation of the GFDL: the rights and obligations of users and contributors.

 

IMPORTANT: If you want to use content from Wikipedia, first read the Users' rights and obligations section. You should then read the GNU Free Documentation License.

 

Contents [hide]

1 Users' rights and obligations

1.1 Example notice

1.2 Fair use materials and special requirements

2 Image guidelines

2.1 Tagging

2.2 U.S. government photographs

2.3 UK Crown Copyright

2.4 Celebrity photographs

3 Comments on copyright laws by country

3.1 Soviet Union (pre-1973)

3.2 Russia: copyright exemptions

3.3 Algeria

3.4 Iran

4 Contributors' rights and obligations

4.1 Using copyrighted work from others

4.2 Linking to copyrighted works

4.3 If you find a copyright infringement

5 If you are the owner of Wikipedia-hosted content being used without your permission

6 See also

 

 

 

 

Users' rights and obligations

If you want to use Wikipedia materials in your own books/articles/web sites or other publications, you can do so, but you have to follow the GFDL. If you are simply duplicating the Wikipedia article, you must follow section two of the GFDL on verbatim copying, as discussed at Wikipedia:Verbatim copying.

 

If you create a derivative version by changing or adding content, this entails the following:

 

your materials in turn have to be licensed under GFDL,

you must acknowledge the authorship of the article (section 4B), and

you must provide access to the "transparent copy" of the material (section 4J). (The "transparent copy" of a Wikipedia article is any of a number of formats available from us, including the wiki text, the html web pages, xml feed, etc.)

You may be able to partially fulfill the latter two obligations by providing a conspicuous direct link back to the Wikipedia article hosted on this website. You also need to provide access to a transparent copy of the new text. However, please note that the Wikimedia Foundation makes no guarantee to retain authorship information and a transparent copy of articles. Therefore, you are encouraged to provide this authorship information and a transparent copy with your derived works.

 

 

Example notice

An example notice, for an article that uses the Wikipedia article Metasyntactic variable might read as follows:

 

This article is licensed under the GNU Free Documentation License. It uses material from the Wikipedia article "Metasyntactic variable".

("Metasyntactic variable" and the Wikipedia URL must of course be substituted accordingly.)

 

Alternatively you can distribute your copy of "Metasyntactic variable" along with a copy of the GFDL (as explained in the text) and list at least five (or all if fewer than five) principal authors on the title page (or top of the document). The external Page History Stats tool can help you identify the principal authors.

 

 

Fair use materials and special requirements

All original Wikipedia text is distributed under the GFDL. Occasionally, Wikipedia articles may include images, sounds, or text quotes used under the U.S. Copyright law "fair use" doctrine. It is preferred that these be obtained under the most free (libre) license (such as the GFDL or public domain) practical. In cases where no such images/sounds are currently available, then fair use images are acceptable (until such time as free images become available).

 

In such a case, the material should be identified as from an external source (on the image description page, or history page, as appropriate). As "fair use" is specific to the use that you contemplate it is best if your describe the fair use rationale for such specific use either in hidden text in the article or on the image description page. Remember what is fair use for Wikipedia may not be considered a fair use for your intended use of the content in another context.

 

For example, if we include an image under fair use, you must ensure that your use of the article also qualifies for fair use (this might not be the case, for example, if you were using a Wikipedia article for a commercial use that would otherwise be allowed by the GFDL and the fair use would not be allowed under that commercial use).

 

Wikipedia does use some text under licenses that are compatible with the GFDL but may require additional terms that we do not require for original Wikipedia text (such as including Invariant Sections, Front-Cover Texts, or Back-Cover Texts). When using these materials, you have to include those invariant sections verbatim.

 

 

Image guidelines

Images and photographs, like written works, are subject to copyright. Someone owns them unless they have been explicitly placed in the public domain. Images on the internet need to be licensed directly from the copyright holder or someone able to license on their behalf. In some cases, fair use guidelines may allow a photograph to be used.

 

 

Tagging

Image description pages can be tagged with a special tag to indicate the legal status of the images, as described at Wikipedia:Image copyright tags. It is currently unclear what should happen in cases where the same image has been uploaded more than once with different respective copyright statements.

 

 

U.S. government photographs

Works produced by civilian and military employees of the United States federal government in the scope of their employment are public domain by statute. However, note that, despite popular misconception, the U.S. Federal Government can own copyrights that are assigned to it by others (for example, works created by contractors). Be careful, however: not all images on .mil and .gov websites are public domain. Among other reasons, the site may be using commercial stock photography owned by others. It may be useful to check the privacy and security notice of the website, but only with an email to the webmaster can you be confident that an image is in the public domain. It should also be noted that governments outside the U.S. often do claim copyright over works produced by their employees (for example, Crown Copyright in the United Kingdom). Also, most state and local governments in the United States do not place their work into the public domain and do in fact own the copyright to their work. Please be careful to check ownership information before copying.

 

 

UK Crown Copyright

The UK Office of Public Sector Information, formerly HMSO, has told us:

 

Crown copyright protection in published material lasts for fifty years from the end of the year in which the material was first published. Therefore [for example] material published [fifty-one years ago], and any Crown copyright material published before that date, would now be out of copyright, and may be freely reproduced throughout the world. [1]

 

Celebrity photographs

This is based on the image guidelines at IMDB, so it especially applies to celebrity photographs, but also can apply to other pictures. Legitimate photographs generally come from three different places with permission.

 

The studios, producers, magazine publisher, or media outlet that originally shot the photograph.

Agencies that represent the photographers who shot the photos or the photographer themself (the latter especially for amateur photographs)

Submissions from the celebrity himself or herself or a legal representative of the celebrity.

 

Comments on copyright laws by country

 

Soviet Union (pre-1973)

Soviet copyright laws are non-retroactive, and all works published in Soviet Union prior to May 27, 1973 remain unprotected outside the former Soviet Union.

 

 

Russia: copyright exemptions

According to the Russian copyright law of 1993 (wikisource:Закон об авторском праве и смежных правах), the following items are not subject to copyrights:

 

Official documents (laws, court decisions, other texts of legislative, administrative or judicial character);

State symbols and tokens (flags, coats of arms, orders, banknotes and other state symbols and tokens);

Folk creative works;

Reports about events and facts, of informative character.

Russian copyrights expire in 70 years after the death of the author.

 

 

Algeria

Article 9 of Algeria's Ordonnance N°97-10 du 27 Chaoual 1417 correspondant au 6 mars 1997 relative aux droits d'auteur et aux droits voisins. states that: "Works of the State made licitly accessible to the public may be freely used for non-profit purposes, subject to respect for the integrity of the work and indication of its source. By "works of the State", in this article, are meant works produced and published by the various organs of the State, local communities, or public establishments of an administrative character." (original is in French.) In short, they are available for non-commercial use - which is deprecated on Wikipedia.

 

 

Iran

Althought there has been no treaty between Iran and the United States regarding copyright protection, according to Jimbo Wales, Wikipedia contributors should respect Iranian copyright law as best they can, the same as they do for other countries around the world. [2]

 

 

Contributors' rights and obligations

If you contribute material to Wikipedia, you thereby license it to the public under the GFDL (with no invariant sections, front-cover texts, or back-cover texts). In order to contribute, you therefore must be in a position to grant this license, which means that either

 

you own the copyright to the material, for instance because you produced it yourself, or

you acquired the material from a source that allows the licensing under GFDL, for instance because the material is in the public domain or is itself published under GFDL.

In the first case, you retain copyright to your materials. You can later republish and relicense them in any way you like. However, you can never retract the GFDL license for the versions you placed here: that material will remain under GFDL forever. In the second case, if you incorporate external GFDL materials, as a requirement of the GFDL, you need to acknowledge the authorship and provide a link back to the network location of the original copy. If the original copy required invariant sections, you have to incorporate those into the Wikipedia article; it is however very desirable to replace GFDL texts with invariant sections by original content without invariant sections whenever possible.

 

 

Using copyrighted work from others

If you use part of a copyrighted work under "fair use", or if you obtain special permission to use a copyrighted work from the copyright holder under the terms of our license, you must make a note of that fact (along with names and dates). It is our goal to be able to freely redistribute as much of Wikipedia's material as possible, so original images an

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thank you, mr man

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i just hope a mod doesnt find this thread!

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wot r u on about?! :embarrased: