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Chinese DVD Pirates - the Mississippi Connection |
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Written by TParker
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Monday, 03 October 2005 |
 You don't normally think of Mississippi when you think of Chinese DVD-piracy. But, oddly enough, a customs officer confiscating pirated DVDs from the A1 Flea Market in Pass Christian, Mississippi led to one of the largest busts made in the battle against international movie piracy.
Randolph "Randy" Guthrie III, who's great-grandfather was Andrew Carnegie's business partner, Henry Phipps, is one of 200 in line to inherit billions from the family estate. Now, he is sitting in a jail in China, thanks partially to the efforts of Steve Thomas, the customs agent in charge of southern Mississippi, the federal prosecutor's office in Biloxi, and Jay Golden, an assistant US attorney. Small World...
It's a long read - 6 pages - but, it is a fascinating look into the big-money world of Chinese DVD Piracy. This ain't some Girl Scout downloading pop music from e-Donkey... this is the real deal. Click Here to read the complete article over at Wired.com.
{moscomment}
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Last Updated ( Monday, 03 October 2005 )
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Studio Jargon |
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A simple definition of this complex and diverse term would almost certainly be inaccurate, while a full discussion is beyond the scope of this glossary, but here goes. Essentially a type of scale. If the notes used in a melody all appear in a given modal scale, and if the melody begins or ends on the base note (final) of the modal scale, the melody is said to be in that mode. The modes most commonly referred to can be obtained by playing only (and all of) the white piano notes between certain keys and their octaves thus: Ionian C - C, Dorian D - D, Phrygian E - E, Lydian F - F, Mixolydian G - G, Aeolian A - A. Modes are most commonly encountered in folk and ethnic music. The modern major and minor scales correspond to the ionian and aeolian modes respectively. So it seems that tonal music (most of the music written in the last 300 - 400 years) is based on only two of a number of possible scales, and it is interesting to note that while much European art music has confined itself to a thorough exploration of only these two modes, the rest of the world and European folk musicians have been quietly exploring all the rest and others. In defence of the apparent narrow mindedness of European art musicians, it must be said that the other modes do not easily lend themselves to the systematic and hierarchical structures beloved of them. |
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