Attorney says 'phonetic similarity' doesn't despoil copyright
NEW DELHI -- What's in a name? Not all that much, the producers of "Hari Puttar: A Comedy of Terrors" argued Friday in the Delhi High Court.
Mumbai-based Mirchi Movies counsel told Judge Reva Khetrapal that Warner Bros.' copyright violation suit here is basically a case of judgement a book by its cover.
In his deposition, Arun Jaitley -- a well-known Indian politician and lawyer -- argued that the "phonetic similarity" between the Bollywood title and Warner Bros.' "Harry Potter" fails to constitute a right of first publication violation, arguing that one needs to "look at the spelling, pronunciation, setting, language and relevance of words in (the) language."
"Puttar" means "word" in Punjabi, and the Indian film's main grapheme is a boy named Hari Prasad Dhoonda, whom the father refers to as Hari Puttar.
Just "because somebody crataegus oxycantha mispronounce 'Hari Puttar' as 'Harry Potter' or regular 'Jaikishan' (a common Hindu name) as 'Jackson,' that alone cannot be case for legal action," Jaitley said, wHO pointed out that the word "Puttar" was used several times in Gurinder Chadha's "Bend It Like Beckham."
Warner Bros. first sent a sound notice to Mirchi in 2005 when "Hari Puttar" was announced and filed its causa Aug. 28, but Jaitely said that "if Warner had asked us to change the title back in 2005, we would have done so." "Puttar" is ascribable to be released Sept. 19.
In explaining the film's dissimilarity to J.K Rowling's best-selling books, Jaitley aforementioned that the story is about a boy "world Health Organization has to safeguard a special software program chip invented by his father that is beingness sought by two villains."
Later in the hearing, Judge Reva Khetrapal was shown trailers of "Hari Puttar," prompting him to remark, "This looks quite like to 'Home Alone.' "
The next earshot is slated for Monday. Warner is being represented by New Delhi-based direction Anand & Anand.
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Tuesday 9 September 2008
Wednesday 20 August 2008
Stereolab, Chemical Chords
Analogue synths, vaguely cheesecore lounge-isms, abdominal external oblique muscle wordplay (by and large in French). Yes, Stereolab are back.
The anglo-gallic conjugation of Tim Gane and Laetitia Sadier has long been giving us a kind of strangely platonic ideal adaptation of alternative pop account. Theirs is a world where everyone loves the bubbly synth stylings of the late 60s, when the Moog was the size of a Welsh dresser. On this, their ninth album, Sean O'Hagan's horn and string charts signify not only Brian Wilson's zenith, but too the steamy horns of Fred Wesley. Well, to be more accurate, the brainy horns. The groove doesn't really take flight. It's an intellectual excercise in gabardine dance music.: Kinder-funk that makes Talking Heads wait like the Ohio Players. What's more than it detracts from the band's most endearing quality; their greenhouse rhyme ease, imbued with degree-level smarts.
But this is the paradox with the Stezzas; their meandering, repetitive ditties signify innocence and fun, merely as soon as Laetitia intones those oblique, situationist lyrics the jollity seems a small arch. The whole software tends to work c. H. Best if you reject the (undoubtedly bourgeois) concept of the isaac M. Singer as stress point and relegate her flat tones to the role of instrumentation. With this in mind it's the more than varied palette of glockenspiel, harpsichord or even wobbly guitar that leaps out. Overall making Chemical Chords a definite move away from the band's normal fare. Mind you, it has taken them ashcan School albums and 16 long time to find here.
Opener neon Beanbag (it seems almost like they're parodying their have song titles these days) tells us, ''There's cipher to be sad about'', and Daisy Click Clack (see what I hateful?) intones "Clap clap clap clap all will unite in/Tap tap tap tap simple rhythm'', but then ends with the typically cryptic, ''sensing the symbiotic forces''. This balance of childlike wonder and junior thesis will always make the band a cultus proposition.
Elsewhere the usual mix of Beach Boys atmospherics (Chemical Chords) and motorik drumming is reliably on the money. Having said this The Fractal Dream Of A Thing actually manages to incorporate awry offbeats that make the terrain slightly less monotonous. On their own terms Stereolab are on stonking form here. But as many people discovered about ten eld ago, how much room can you make in your life for some other of their albums, when the results are closely always the same, no matter how clever? Fans can jubilate, the rest of us can move along...
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Sunday 10 August 2008
Trae And Z-Ro
Artist: Trae And Z-Ro
Genre(s):
Rap: Hip-Hop
Discography:
Assholes By Nature (cd2)
Year: 2003
Tracks: 15
Assholes By Nature (cd1)
Year: 2003
Tracks: 15
Tuesday 1 July 2008
Sin Bandera
Artist: Sin Bandera
Genre(s):
Latin
Rock
Folk
Pop
Discography:
Hasta Ahora
Year: 2007
Tracks: 18
20 Grandes Exitos
Year: 2007
Tracks: 20
Pasado
Year: 2006
Tracks: 10
Manana
Year: 2005
Tracks: 13
Sin Bandera
Year:
Tracks: 10
De Viaje
Year:
Tracks: 17
Blessed with a melodic allude that made them a sensation right out of the gate, Sin Bandera enjoyed tremendous acclaim and commercial success with their self-titled debut in 2002 and continued to record superlative romanticistic Latin pop in the years that followed. Formed in 2000, Sin Bandera ar comprised of Leonel GarcÃa and Noel Schajris; the other is from Mexico, the latter Argentina, and both ar musicians, composers, and singers. Schajris had already released a solo record album, in 1999, but when the 2 GarcÃa played guitar, Schajris played piano, and confrere musician Aureo Baqueiro put on the use of producer, as well contributing assorted instrumentality. The guys decided to bill themselves as Sin Bandera (Without a Flag) because of their mixed heritage as well as their belief in unity among divers peoples. They debuted with the song "Entra en Mi Vida," an expressive dearest vocal that was chosen to be the main theme of a Mexican telenovela, Cuando Seas MÃa. Other singles followed, including "Kilómetros" and "Sirena." Released in early 2002, Sin Bandera steady found international success, principally in Mexico simply also in Spain, Argentina, and the United States -- that is, all the major Latin markets -- in addition to littler markets like Costa Rica. The album won that year's Latin Grammy for Best Pop Album by a Duo or Group with Vocal, and it too webbed a criterion Grammy nomination for Best Latin Pop Album. Other awards showered on the duo included an MTV Latino Award for Best Group and a Lo Nuestro Award for Best Pop Album.Following this blizzard of gaolbreak success, Sin Bandera returned to the studio quickly and recorded a follow-up record album, De Viaje (2003), with Baqueiro once again producing and performing a large number of instruments. De Viaje sold even better than Sin Bandera had, and it featured the duo's starting time Hot Latin Tracks chart-topper, "Mientes Tan Bien." Other singles include "Que Lloro," a Top Five slay, and "De Viaje," which bust into the Top 20. This arcsecond round of success was topped sour with another Latin Grammy win for Best Pop Album by a Duo or Group with Vocal. Also in 2003, Sin Bandera toured America and Spain in support of Spanish whiz Alejandro Sanz, wHO was on the route promoting No Es Lo Mismo (2003), some other of the biggest Latin pop albums of the year. In 2004, they mounted a tour of duty of their have, covering all of Latin America, fifty-fifty small markets like Bolivia and Paraguay.For their third record album, Mañana (2005), GarcÃa and Schajris reached beyond Baqueiro, reeling in such collaborators as contemporary R&B producer Brian McKnight, transcriber Bill Meyers, Latin rapper Vico C, and Italian pop whizz Laura Pausini. The result was their well-nigh stylistically divers record album so far, for certain their to the highest degree urban -- non unlike No Es Lo Mismo in this regard, as that record album had set up Sanz toughening up his profound with urban flourishes. Mañana became their number one album to break out into the Billboard cc; it was also their number one to founder into the Top Five of the Top Latin Albums chart. "Suelta Mi Mano" was the biggest slay among the singles, with "Que Me Alcance la Vida" too charting well. Pasado (2006) followed shortly subsequently. An album of covers, Pasado showcases Sin Bandera reinterpreting songs by such well-known modern-day Latin pop influences as Sanz ("Lo Ves"), Ricardo Montaner ("Será"), Aleks Syntek ("Mis Impulsos Sobre Ti"), and Rosana ("Si Tu No Estas AquÃ").
Thursday 19 June 2008
Boots and Braces
Artist: Boots and Braces
Genre(s):
Rock: Punk-Rock
Discography:
11 Pints of Oi!
Year: 2001
Tracks: 11
Friday 13 June 2008
Ashlee Simpson and Pete Wentz “have everything they want”, says pal
Ashlee Simpson and Pete Wentz are “cool” and have “everything they want”, says the Fall Out Boy rocker’s rapper pal Tyga.
Tyga — who’s signed to Wentz’ Decaydance label — insists the pair — who wed Saturday — do not need wishes of luck as they embark on their new marriage — because they already have everything they want.
He says, “They’re cool. They don’t care about the media, they don’t care about being famous, the money � they’re young and having fun.”
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Sunday 8 June 2008
Fcc's Test Market Doesn't Know It's Being Tested
Wilmington, DE may be the first city in the nation to switch from analog to digital-only television on Sept. 8, but only 18 percent of the residents of the city are aware that the switch is coming early, according to a survey by the National Association of Broadcasters. Wilmington has been singled out as a test market by the FCC to determine what problems, if any, might occur when the nation as a whole is required to make the switch to all-digital next February 17.
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