Copyright Page

Unless otherwise noted, the contents of the Cottsweb web pages are copyright (©) 1999, 2000, 2001, 2002, 2003, 2004, 2005, 2006, 2007, 2008 Brian Cotts and may be briefly excerpted for purposes of review only. (Or if you want to e-mail spelling mistakes to me, you can do that too.)

Where works copyrighted by a third party are utilized (for example: brief quotations used at the beginnings, or in the bodies of short stories or novels or essays; images or sound samples appropriated for illustrative use; etc.) proper ownership of these works has been clearly noted either contextually (in the body of the work wherein said third-party material appears), or on this page, or both contextually as well as on this page.

In the case of Liz The Forever, when and if I get around to putting it online (but I kinda doubt it now), it's okay if you folks download copies of it, after all it's pretty long. You can show it to your friends, too, just as long as you keep that little copyright thingie on the cover page and make sure they know I wrote it. And, as always, feedback (negative or positive) is welcomed.

Any correspondence (e-mails, etc.) to Brian Cotts and / or Cottsweb may be reprinted at the discretion of the Cottsweb staff. So, if you're lucky you might just find yourself brutally mocked, turgidly ignored, or even sycophantically drooled upon.

Except for the purpose of satire and / or cultural criticism, no similarity between characters and/ or institutions depicted in the fiction of Brian Cotts and actual real-world institutions and / or persons either living or dead is intended.

So, anyway, unless noted either here or contextually, everything on Cottsweb is © Brian Cotts.

Thanks for your time.

Brian.

30.02. That big long word ("bababadalghar....") after the "Next," at the end, just before my copyright note, is from page 3 of Finnegans Wake by James Joyce. Faber and Faber, 1939. The Viking Press, 1939. Penguin Books, 1992. (I'm using the Penguin edition, but that doesn't really matter because the page numbers are the same in all the editions, as far as I've been able to tell.) Is it just me or is there no copyright info in Finnegans Wake? Has it wandered into public domain, or am I just dumb and can't see something directly under my nose?

30.03. The title of this week's column, "...a loved along...." is also from Finnegans Wake. It stitches the beginning and ending fragments together forming a third fragment that's part of the completed sentence that both begins and ends F.W. So I guess the page citation would be something like this: 628-1. Whatever. You get the idea.

30.07. The second last line, "Good Christ....", is a verbatim quote of the last line of pg. 253 of Thomas Pynchon's Mason & Dixon and is, naturally, copyright (©) 1997 Thomas Pynchon. It's not used with permission, but I'm pretty sure no one will care. Read a book, kids. It's more fun than hanging around streetcorners and pestering people for change. And it's good for you too!

30.08. The two brief quotations are from Lara's Book by Douglas Copeland and Kip Ward and are copyright © 1998 Prima Publishing. And despite what you might think of Douglas Copeland and Lara Croft / Tomb Raider (tm) Lara's Book is actually a very interesting book on several levels.

30.12. The long quote is from Silent Interviews, by Samuel R. Delany and is copyright (©) 1994 Samuel R. Delany. The book is published by the Wesleyan University Press. The long quote consists of extracts from pages 239-241, "The Kenneth James Interview." Again, used without permission, but I doubt Chip will mind (I can call him "Chip," right?)....

Pikachu is copyright © Nintendo. I don't have the specific year although I'm guessing it's somewhere around 1997-98. And I don't have the full copyright data (GAMEFREAK, etc.) because, frankly, there seem to be so many corporate subdivisions involved with Pokemon that I'm totally lost here. If anybody wants to fill me in on how all this works and who owns what I can be reached at cbrian@lycos.com. If not, well, I think it's pretty safe to just say © Nintendo and leave it at that. And there's no link. You have to figure out where Pikachu is on yer own, bub. (Wigglytuff is also © Nintendo. Everything I said about Pikachu also applies to Wigglytuff.)

30.14. The stuff from Scott McCloud's Understanding Comics is, naturally, copyright ©1993 Scott McCloud. Sailor Moon S is by Naoko Takeuchi. The English version I whose captions I quote is copyright ©1999 Mixx Entertainment, Inc. Original Japanese version copyright © 1995 Naoko Takeuchi. I don't really know if I'm exactly breaking copyright laws here by quoting the captions of comics, but you can't play it too safe.

30.17. The quote here is from the first page of Roland Barthes by Roland Barthes (written, predictably enough, by Roland Barthes). The original is copyright © 1975 Éditions du Seuil. This translation is copyright © 1977 by Farrar, Strauss and Giroux, Inc.

30.18. The quote is from The Transparency Of Evil, by Jean Baudrillard, pgs 121-122, the section entitled "The Hell Of The Same." Verso Books, 1993. The original is © 1990 Editions Galilée. The Verso translation is © 1993 James Benedict.

30.20. The stuff here is from Underworld, by Don DeLillo, pg 73, and is copyright © 1997 Don DeLillo. (Scribner 2007.) It's a good book. A very good book. Maybe one of the best books of the last 5 years. Maybe one of the best books ever. Read this book. Yes, I am threatening you.

30.24. These two quotes are from A Lover's Discourse by Roland Barthes. This translation (Richard Howard) copyright © 1978 by Farrar, Straus and Giroux, Inc. The original (Fragments d'un discours amoureux) is copyright © 1977 Éditions du Seuil.

30.33. This quick snippet of wonderful writing is from "Envois" from The Post Card (From Socrates to Freud and Beyond), by Jacques Derrida, translated by Alan Bass. Derrida's original work (La carte postale: De Socrate a Freud et au-dela) is copyright © 1980, Flammarion, Paris. Bass's translation is © 1987 by The University of Chicago and is available form The University Of Chicago Press and you should buy it right now. For some reason this damn computer won't let me do an "accent grave" so when you're reading Derrida's (French) title try to picture a little backwards tickie-thing over the "a" between "Socrate" and "Freud" and another backwards tickie-thing over the last "a" in "au-dela." Stupid keyboard has every other goddamn little accent and squiggle imaginable, but for some reason not that one. And hats off to Alan Bass for such a beautiful translation of what's probably an utterly amazing work in the original French.

30.42. This is an excerpt of a footnote by John Rutherford found on pages 985-986 John Rutherford's new translation of Don Quixote which is published by Penguin Books and is copyright © 2000 John Rutherford. The footnote also contains some other material from another source (the stuff in quotes), but Rutherford's already cited that stuff in parts of the note I've omitted, so I'm not going to worry about citing it here. So I guess if you want to find out where the stuff in quotes is from you'll just have to pick up a copy of the book.

30.44i.15: "In this no-infinity, infinity is found...." is an allusion to a song called "Folk Me Amadeus," by Momus. Although I don't have to, I feel it strangely necessary to credit that, here. This song is off his 2001 album Folktronic. The real lyric is :"Within this 'no infinity' infinity is found" and is copyright © 2001 Nick Currie.

30.53: The Bush quote is from a Whitehouse Press Release released on December 28, 2001. I think these things are public domain, but you can never be too safe. I guess.
Anyway, you can find it at http://www.whitehouse.gov/news/releases/2001/12/20011228-1.html

30.54: Good Ol' george Bush strikes again with that there Paki comment, which I don't really think is copyrighted, but the text I used to verify the comment is a Guardian article that can be found at:
           http://www.guardian.co.uk/Archive/Article/0,4273,4331726,00.html
            That article is copyrighted as follows: Guardian Unlimited © Guardian Newspapers Limited 2002. I know I don't really quote from it, except for the Bush part, but what the hell.
            Once again, none of this stuff is used with permission, but I'm pretty sure it all falls under the umbrella of Fair Use.

EPILOGUE.27l: This is part of a Dada poem by Hugo Ball. The poem is called "jolifanto bambla o falli bamla," and can be found on page 137 of @las books's early Dada anthology Blago Bung Blago Bung Bosso fataka! It's been, sort of, "translated" from the German by Malcolm Green. The contents of the book are copyright © 1995 Atlas Press, and the Translation is copyright © 1995 Malcolm Green.

EPILOGUE.27s: This is spoken by Sakura in Clamp's Card Captor Sakura manga. It can be found on page 154 of Tokyopop / Chix Comix's Card Captor Sakura Volume 1. Translation by Maria Simpson. Translation copyright © 2000 Mixx Entertainment, Inc. Original Japanese version copyright © 1996 Clamp.

EPILOGUE.27v: All the lyrics in all the Men Without Hats songs quoted in this little essay are copyright © 1987 Ivan Doroschuk, and can all be found of Pop Goes The World. The songs the lyrics belong to are noted contextually. "The Hollow Men" (1925) by T.S. Eliot may have just entered the public domain, and so I guess I don't have to list any copyright data. It is published by Faber & Faber, though. However, if I'm wrong, send me an e-mail and I'll fix my error. In any case, I haven't been able to find any copyright info on the poem. So, if someone out there knows if it's public domain or not, send me the copyright data, too. Or at least point towards it.

EPILOGUE.32. The T.S. Eliot quote is from "The Love Song Of J. Alfred Prufrock," can be found in Faber & Faber's Selected Poems, was written in 1915, published in book form 1917, and I'm pretty sure is in the public domain. The Pere Ubu lyric is from the song "Final Solution," and can be found on their Terminal Tower compilation. It is copyright © 1976 David Thomas. Or, possibly © 1998 Ubu Projex.

EPILOGUE.36. This is the text of the Jim's Journal strip on the bottom half of page 57 of the Jim's Journal book I Got a Job and it wasn't that bad. It is copyright © 1993 Dikkers. Published by Andrews and McMeel.

EPILOGUE.42. Not really a copyright issue as such, but I just thought I'd mention that this whole column is a tribute to the David Byrne song "Knee Play 12 (In The Future)"-- in that it pretty much takes the song's entire lyrical conceit and filters it though my general bitterness. The original can be found (if you're lucky) on the long out of print (vinyl or cassette-- it still hasn't hit CD) ECM release Music For The Knee Plays (1985).

EPILOGUE.43f. The Michael Moore stuff is probably copyright © 2003 Michael Moore unless the BBC variant is copyright © 2003 the BBC. If this stuff is even copyrighted. And even if it is, I'm sure what I've done falls under Fair Use.

EPILOGUE.59. Alex said this to me one day. It may not be copyrighted, but it is something to think about.

INTERLUDE. Yep. Some guy actually said this to me, once. It was back when I worked at the store and I gave him my URL. C'est la vie. No copyright.

EPILOGUE.71. From the strip on page 97 of Stephen Notley's "Bob The Angry Flower" collection entitled Coffee With Sinistar. Copyright © 1999 Stephen Notley. Published by Leftover Books, Canada. You should all run out and buy "Bob The Angry Flower" books right now. www.angryflower.com

EPILOGUE.72. The T.S. Eliot quote is from "The Love Song Of J. Alfred Prufrock," can be found in Faber & Faber's Selected Poems, was written in 1915, published in book form 1917, and I'm pretty sure is in the public domain.

None of the other "quotations" in the epigraphs of EPILOGUE.73 really count with the exceptions of:

        PART THREE: "STARING INTO THE SUN." The Family Guy quote is from the episode "Lethal Weapons" and, I'm assuming is copyright © 2001 FOX-- or maybe Seth MacFarlane. But probably FOX.
                I found it on this website, whoch is filled with Family Guy quotes: thtp://www.familyguyquotes.com/
        PART FIVE: "THE NAUSEA YEARS." What that Perry Cox character is saying is copyright © 2004 Bill Laurence, Touchstone Television and Doozer, Inc., or maybe even NBC. Or maybe all of them. It's from the Scrubs episode "My Common Enemy."
        INTERLUDE 11 & INTERLUDE 13: The direct quotations of the little slogans and poems printed on the cover and the pages of the Mashi Maro notebook, not the stuff I wrote, but the stuff that was there already when I bought it, is possibly copyright © Orange Story-- maybe. However, there's no real indication of this as there's no actual copyright notice anywhere in the notebook. For all I know, the notebook could be some sort of knock-off, but I'm erring on the side of caution.
        PART SIX: "WEAPON OF CHOICE." Copyright © 1986 Dennis Potter. I'm not sure if what Marlow says is "Ras, man" or not, though. Anyone with the scriptbook is welcome to let me know if I got it right.
        INTERLUDE 16: "THE MATHEMATICS OF LONGING." The first quote is from Young Mary Lincoln's speech in the last section of Act V of Robert Wilson's the CIVIL warS and I'm including it here because this speech is delivered by Laurie Anderson on the 1999 recording of the same name (music by Philip Glass), and is copyright © 1984 Robert Wilson. The next one is a bit from "The Ouija Board" and can be found on Ugly One With The Jewels and Other Stories by Laurie Anderson and actually goes back a fair bit (I heard a fragment of it first during the 1986 Home Of The Brave film), but for all intents and purposes (because it's on this recording and is substantially different from the version in Home Of The Brave) is copyright © 1994 Difficult Music BMI / Laurie Anderson and can also be found in the Stories From The Nerve Bible book which I actually do not own so cannot properly cite. The same can be said of the snippet from "Same Time Tomorrow": copyright © 1994 Difficult Music BMI / Laurie Anderson, can also be found in the Stories From The Nerve Bible book which I actually do not own so cannot properly cite, and is so substantially different enough from the version on 1994's Bright Red that I feel confident enough using the Ugly One With The Jewels information.
        INTERLUDE 17: "The Litte Aardvark Who Could..." The quote at the start of this one is a modification of lines from "The Second Coming" by W.B. Yeats. I shouldn't even have to explain this one, but there you go. All the other stuff in the text has been properly cited at the end of the Interlude.
INTERLUDE 18: "Give Me Anything, Anything. Please. Let Me Share Your Love." The quote is actually a snippet of Wesley and Illyria/Fred dialogue from the tv show Angel: Episode Number: 105; Season Number: 5; First Aired: Wed. Apr. 14, 2004, and not a variation of the "Aristocrats" joke as has been cryptically suggested. It is copyright © 2004 Mutant Enemy (probably) or Joss Whedon, or something like that.
        INTERLUDE 19: "The Real Sun." Filled with references and stuff, not gonna list them all. The epigraph is from Steve Havelka's web strip Pokey The Penguin, strip #460: "Pokey Is Strong And Virile" and is copyright © 1998-2007 THE AUTHORS. The citation attributed to Lao Tzu is actually from "Hey You" by Pink Floyd, written by Roger Waters and copyright © 1979 Pink Floyd Music Pubs. Ltd.
        INTERLUDE 20: "Whooper." "Oh long Johnson..." and so forth. This is something a cat "said." I have no idea who the cat is, or who owns the cat, or anything. You can see the video on YouTube, among other places. I'm pretty sure my use of it falls under Fair Use, but I'm guessing it's probably not really copyrighted at all, or maybe the people who shot the video of the cat hold the copyright to the video, or something. I can't imagine the cat holds the copyright. Although, these days, you never know....

PART SEVEN:
        The quote here is from the 12 Oz Mouse Webisode "Enter the Sandmouse" and is copyright © 2007 Matt Maiellaro.

And of course, let's not forget, like it needs to be said, but should still be said, and yes indeed shall be said, right... about... now: *30* is a work of fiction and, because certain aspects of it are autobiographical, contains a catalogue of various individuals both real and imagined; therefore any so-called "real" persons represented in *30*, regardless of whether or not their names have been changed to protect their identities, are used by the author either fictitiously or for the purpose of satire.

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