Podcast appearances and mentions of Michael Donaldson

A visit to the Los Angeles Catholic Archdiocese gives the opportunity to enter a world envisioned by the L. A. Archbishop Jose Gomez, and Pope Francis just days after his passing. And how can we describe that vision? One way is to picture the great power of a Church with a following of five million across the expanse of Parishes in Southern California, dedicating this power to making a better life for all, Catholic and non-Catholic. The vision manifests itself clearly in the subject of this episode - the Archdiocese Office of Life, Justice and Peace. Michael Donaldson, Office Director, and Jeanette Gomez Senerviatne, Director of the Whole Person, are carrying forward all that Pope Francis and Archbishop Gomez would hope for. They are addressing the most pressing issues in every community they serve, giving voice to the voiceless, collaborating with and creating partnerships to bring supportive resources to individuals and families. Listen to how their programming acts as a showcase for good emanating from a global city like Los Angeles. At this time, as the three of us sat together in conversation, grateful for Pope Francis, we are dedicating the episode to him, and remembering the way he brought us to focus on the suffering while celebrating the joy of life. The Office of Life, Justice and Peace will continue developing projects and activities in that spirit. “Hope never disappoints”, is what he said in his last Easter message to the world. TO CONTACT: Mpdonaldson@la-archdiocese.org - for Michael Donaldson JSeneviratne@la-archdiocese.org - for Jeanette Seneviratne

Today, the Spotlight shines On Andy McCluskey, the singer, songwriter, musician, and producer best known as the lead singer and bass guitarist of Orchestral Manoeuvres in the Dark (also known as OMD). Andy joined Spotlight On producer and guest host Michael Donaldson to discuss topics as varied as the political messages behind their latest work, post-modern society, Kraftwerk, and the Bauhaus art school.OMD is not working the nostalgia circuit, though no one would blame them if they were. Instead, they continue to release new music that fans and critics rate as among the best of their classics and already have plans to spend a large portion of 2025 on the road.Bauhaus Staircase, OMD's latest album, and their recent EP, Kleptocracy, are out everywhere you get your music.(The musical excerpts heard in the interview are from the OMD album Bauhaus Staircase)–Dig DeeperVisit Orchestral Manoeuvres in the Dark at omd.uk.comPurchase OMD's Bauhaus Staircase from The OMD Store or Qobuz, and listen on your streaming platform of choiceFollow OMD on Facebook, Instagram, Threads, YouTube, and Twitter (X)Kraftwerk changed my life: 20 artists pick their favourite Kraftwerk records of all timeThe Man in the Machine: How Oskar Schlemmer's Triadic Ballet left its mark on David Bowie and New OrderDig into this episode's complete show notes at spotlightonpodcast.com–• Did you enjoy this episode? Please share it with a friend! You can also rate Spotlight On ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts. • Subscribe! Be the first to check out each new episode of Spotlight On in your podcast app of choice. • Looking for more? Visit spotlightonpodcast.com for bonus content, web-only interviews + features, and the Spotlight On email newsletter. You can also follow us on Instagram, Facebook, and Mastodon. Hosted on Acast. See acast.com/privacy for more information.

Today, the Spotlight shines On Andy McCluskey, the singer, songwriter, musician, and producer best known as the lead singer and bass guitarist of Orchestral Manoeuvres in the Dark (also known as OMD). Andy joined Spotlight On producer and guest host Michael Donaldson to discuss topics as varied as the political messages behind their latest work, post-modern society, Kraftwerk, and the Bauhaus art school.OMD is not working the nostalgia circuit, though no one would blame them if they were. Instead, they continue to release new music that fans and critics rate as among the best of their classics and already have plans to spend a large portion of 2025 on the road.Bauhaus Staircase, OMD's latest album, and their recent EP, Kleptocracy, are out everywhere you get your music.(The musical excerpts heard in the interview are from the OMD album Bauhaus Staircase)–Dig DeeperVisit Orchestral Manoeuvres in the Dark at omd.uk.comPurchase OMD's Bauhaus Staircase from The OMD Store or Qobuz, and listen on your streaming platform of choiceFollow OMD on Facebook, Instagram, Threads, YouTube, and Twitter (X)Kraftwerk changed my life: 20 artists pick their favourite Kraftwerk records of all timeThe Man in the Machine: How Oskar Schlemmer's Triadic Ballet left its mark on David Bowie and New OrderDig into this episode's complete show notes at spotlightonpodcast.com–• Did you enjoy this episode? Please share it with a friend! You can also rate Spotlight On ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts. • Subscribe! Be the first to check out each new episode of Spotlight On in your podcast app of choice. • Looking for more? Visit spotlightonpodcast.com for bonus content, web-only interviews + features, and the Spotlight On email newsletter. You can also follow us on Instagram, Facebook, and Mastodon. Hosted on Acast. See acast.com/privacy for more information.

Hello and welcome back! I was fortunate to chat with Michael Donaldson last week to discuss the new book "Sweet Spot" which is a book he wrote alongside Phil Hamilton showcasing 36 of New Zealand's best and most interesting golf courses from the top of the North Island to the bottom of the South. I really enjoyed chatting with Michael about all the things that went into making the book, the selection process, and chatting about NZ's golf landscape as a whole.The book is available from https://sweetspotgolfbook.com/ and listeners can use code YARDAGE10 for 10% off Enjoy!

Today, the Spotlight shines On the musician and producer David John Haskins, better known to the world as David J, bassist and co-founder of both post-punk goth band Bauhaus and, subsequently, Love and Rockets.As if having such a luminary visiting our podcast isn't enough, today's talk is guest-hosted by Spotlight On producer Michael Donaldson, who filled in for me for this and another special episode we will tell you about soon.David came by to talk about Tracks from the Attic (released on Independent Project Records), his career-spanning triple album made up of home demos recorded between 1984 and 2004, hand-selected for inclusion by the artist himself. He also discussed the Love and Rockets tour opening for Jane's Addiction (which kicks off this week) and a lot of very, very interesting esoterica.(The musical excerpts heard in the interview are from David J's album Tracks from the Attic)–Dig DeeperVisit David J at davidjhaskins.comPurchase David J's Tracks from the Attic from Independent Project Records, Qobuz, or Bandcamp, and listen on your streaming platform of choiceFollow David J on Patreon, Facebook, Instagram, and Twitter (X)Love and Rockets (Bandcamp)The ultimate beginner's guide to BauhausShiva SavesDig into this episode's complete show notes at spotlightonpodcast.com–• Did you enjoy this episode? Please share it with a friend! You can also rate Spotlight On ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts. • Subscribe! Be the first to check out each new episode of Spotlight On in your podcast app of choice. • Looking for more? Visit spotlightonpodcast.com for bonus content, web-only interviews + features, and the Spotlight On email newsletter. You can also follow us on Instagram, Facebook, and Mastodon. Hosted on Acast. See acast.com/privacy for more information.

Today, the Spotlight shines On the musician and producer David John Haskins, better known to the world as David J, bassist and co-founder of both post-punk goth band Bauhaus and, subsequently, Love and Rockets.As if having such a luminary visiting our podcast isn't enough, today's talk is guest-hosted by Spotlight On producer Michael Donaldson, who filled in for me for this and another special episode we will tell you about soon.David came by to talk about Tracks from the Attic (released on Independent Project Records), his career-spanning triple album made up of home demos recorded between 1984 and 2004, hand-selected for inclusion by the artist himself. He also discussed the Love and Rockets tour opening for Jane's Addiction (which kicks off this week) and a lot of very, very interesting esoterica.(The musical excerpts heard in the interview are from David J's album Tracks from the Attic)–Dig DeeperVisit David J at davidjhaskins.comPurchase David J's Tracks from the Attic from Independent Project Records, Qobuz, or Bandcamp, and listen on your streaming platform of choiceFollow David J on Patreon, Facebook, Instagram, and Twitter (X)Love and Rockets (Bandcamp)The ultimate beginner's guide to BauhausShiva SavesDig into this episode's complete show notes at spotlightonpodcast.com–• Did you enjoy this episode? Please share it with a friend! You can also rate Spotlight On ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts. • Subscribe! Be the first to check out each new episode of Spotlight On in your podcast app of choice. • Looking for more? Visit spotlightonpodcast.com for bonus content, web-only interviews + features, and the Spotlight On email newsletter. You can also follow us on Instagram, Facebook, and Mastodon. Hosted on Acast. See acast.com/privacy for more information.

Deep Creek Brewing the third high-profile New Zealand craft brewery to close this year. Michael Donaldson is the publisher and editor of Pursuit of Hoppiness, an online news site for all things beer related. Michael joins Nights.

Deep Creek Brewing the third high-profile New Zealand craft brewery to close this year. Michael Donaldson is the publisher and editor of Pursuit of Hoppiness, an online news site for all things beer related. Michael joins Nights.

He had a long career at the Sunday Star-Times, running the sports pages when they dominated the national conversation. Then the internet happened, and Michael Donaldson felt the light go out. He turned a taste for craft beer into the Pursuit of Hoppiness, a print publication and Substack which exemplifies the power of niche media. He joins Duncan Greive on The Spinoff to talk about his long, circuitous career. Learn more about your ad choices. Visit megaphone.fm/adchoices

Spotlight On producer and editor Michael Donaldson and host Lawrence Peryer communicate constantly throughout the research and production of each episode, but they rarely actually speak in person. So when Michael suggested they spend time catching up to discuss some topics of shared interest, the pair decided to press ‘record' and share their discussion with listeners. The two had a freewheeling and sprawling talk which Michael worked his editing magic on in order to bring to you. Enjoy. ------------------Dig DeeperFollow Lawrence Peryer on LinkedIn, Instagram, and YouTubeFollow Michael Donaldson on Mastodon, LinkedIn, and 8sided.blogthe musical genre is dead, gen z killed itCollege Radio: What's changed—and what hasn't.The Elephant 6 Recording Co.A Weird, Wonderful Conversation With Kim Stanley RobinsonIt's a Bird! It's a Plane! It's…Some Dude?!Actors and Writers Strike 2023, Explained: What Happens Now?Will A.I. Replace Pop Stars?A Brief History of Virtual Pop StarsTiny AccidentsThe Case Against Music CurationSpotify's Discover Weekly explained At 85, Sam Rivers Creates A Scene In Orlando------------------• Did you enjoy this episode? Please share it with a friend! You can also rate Spotlight On ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts. • Subscribe! Be the first to check out each new episode of Spotlight On in your podcast app of choice. • Looking for more? Visit spotlightonpodcast.com for bonus content, web-only interviews + features, and the Spotlight On email newsletter. Hosted on Acast. See acast.com/privacy for more information.

Spotlight On producer and editor Michael Donaldson and host Lawrence Peryer communicate constantly throughout the research and production of each episode, but they rarely actually speak in person. So when Michael suggested they spend time catching up to discuss some topics of shared interest, the pair decided to press ‘record' and share their discussion with listeners. The two had a freewheeling and sprawling talk which Michael worked his editing magic on in order to bring to you. Enjoy. ------------------Dig DeeperFollow Lawrence Peryer on LinkedIn, Instagram, and YouTubeFollow Michael Donaldson on Mastodon, LinkedIn, and 8sided.blogthe musical genre is dead, gen z killed itCollege Radio: What's changed—and what hasn't.The Elephant 6 Recording Co.A Weird, Wonderful Conversation With Kim Stanley RobinsonIt's a Bird! It's a Plane! It's…Some Dude?!Actors and Writers Strike 2023, Explained: What Happens Now?Will A.I. Replace Pop Stars?A Brief History of Virtual Pop StarsTiny AccidentsThe Case Against Music CurationSpotify's Discover Weekly explained At 85, Sam Rivers Creates A Scene In Orlando------------------• Did you enjoy this episode? Please share it with a friend! You can also rate Spotlight On ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts. • Subscribe! Be the first to check out each new episode of Spotlight On in your podcast app of choice. • Looking for more? Visit spotlightonpodcast.com for bonus content, web-only interviews + features, and the Spotlight On email newsletter. Hosted on Acast. See acast.com/privacy for more information.

Rob talks to himself again.

FORWARD Development partner Sally McNamara in conversation with Renee Barnes, Founder of “The People Paradox”, advising companies on how to grow productive and engaged work cultures and importantly for this conversation – a mum of two. At FORWARD, we are interested in exploring skills through many different lenses – and this is one of those more creative conversations. Because sometimes being future focussed can mean reframing how we currently see things, rather than creating something new. In this conversation, we talk about how there is huge learning and growth in the transition to motherhood and many transferable skills that could be more visible and valued upon returning to paid work. Instead of “time out” of the workforce, we want to reframe pregnancy and parental leave for what it is: a period of rapid upskilling. We see this could boost women's confidence and encourage more women to go for leadership roles post children – bringing many other benefits for workplace culture and well-being in particular. Learn more about Renee's work here https://www.peopleparadoxhr.com/ Transcript at: https://otter.ai/u/Ra0g9XFj7N91p1TbZh-DpSc05WQ?utm_source=copy_url Production by Michael Donaldson https://8sided.blog/8sided-about/

FORWARD Development partner Sally McNamara in conversation with Winitha Bonney, a Thought Leader in Inclusive Organisations and Leadership for People of Colour and recipient of an Order of Australia in 2021 for their extensive work and leadership in inclusion. Winitha helps leaders to build anti-fragile cultures of inclusion where everyone is heard, seen and valued, creating true belonging, equity, equality and connection. Today we're talking about how the skills we build in life can amplify our work skills (and vice versa). Winitha believes that the biggest blocker to inclusion at work is a lack of shame resilience, and that the way for us to build this invisible superpower is to start by noticing and processing our own pain and suffering to be able to empathise with others and build cultures of anti-fragility at work and in life. Our working theory on this at FORWARD is that valuing skills gained through life experience and interests can help build the durable human skills we need now more than ever at work (like self-awareness; resilience, adaptability; empathy) and also facilitate greater inclusion and belonging at work. You can find out more about Winitha's work here http://www.winitha.com/ Transcript at https://otter.ai/u/oVs1EjTTQc1ESFkVnP8FwiCobfc?utm_source=copy_url Production by Michael Donaldson https://8sided.blog/8sided-about/

Peter Thomas talks to Daniel Layne, CEO of UK fintech QV Systems. It's a wide ranging conversation about about his business, about some of the changes in technology that are shaping both business and consumers in finance, the role of technology in the future of work and skills, and especially the impacts and use cases for generative AI. Daniel then looks back at his startup and scaleup experience and offers some advice for those growing their business. Daniel has been in the software industry for 24 years starting in retail banking, then developing software for ATM and card payments and later building large scale auto finance systems. He started QV Systems in 2012 to bring SaaS to asset and automotive finance. Daniel has a law degree, and amongst other things is interested in the future of technology. Daniel is one our FORWARD senior industry fellows and is based in the UK. Transcript at: https://otter.ai/u/btJNWsvA2aUet0-z3YdM9Mh3AOM?utm_source=copy_url Production by Michael Donaldson https://8sided.blog/8sided-about/

FORWARD Development partner Sally McNamara in conversation with Senior Industry Fellow Matt Collier in part two of a conversation about the skills of change resilience. Matt is an aerospace engineer by original training and has applied his skills in an incredibly diverse range of fields–including co-founding the first design-led innovation lab in the US government in the Obama administration. Most recently, Matt led a global remit at a large insurance company to develop people and culture strategy and support the Board in establishing and monitoring culture. In this second discussion, Sally and Matt talk about how Matt has been applying the skills of change resilience in real-time and the ups and downs of taking an intentional career break. We reflect on the discomfort of change and sitting in the unknown. You can connect with Matt on Linkedin at https://www.linkedin.com/in/mwcollier/ Transcript at: https://otter.ai/u/sSN_YsThxSvHa36FaDzQon4MkJY?utm_source=copy_url Production by Michael Donaldson https://8sided.blog/8sided-about/

Matt Collier – change resilience as an enabler of learning FORWARD Development partner Sally McNamara in conversation with Senior Industry Fellow Matt Collier in the first of a two-part discussion on change resilience. Matt is an aerospace engineer by training and has applied his skills in an incredibly diverse range of fields, including co-founding the first design-led innovation lab in the US government Obama administration. Most recently, Matt led a global remit at a large insurance company to develop people and culture strategy and support the Board in establishing and monitoring culture. In this episode, Sally and Matt talk about how building change resilience capacity individually and collectively has a multiplier effect to support not just performance and skills acquisition but also broader outcomes in areas such as health, wellbeing, diversity, inclusion, innovation, lifelong learning and more. You can connect with Matt on LinkedIn at https://www.linkedin.com/in/mwcollier/ Transcript at: https://otter.ai/u/aKVXDJO7mu_E0cuZlOfokj1_cyY?utm_source=copy_url Production by Michael Donaldson https://8sided.blog/8sided-about/

Helen Babb-Delia, development partner at FORWARD, in conversation with Deanna Pantín Parrish, an experienced consultant, educator and dispute resolution professional. Deanna is currently a Lecturer at Harvard Law School, a Clinical Instructor at the Harvard Dispute System Design Clinic, and the Assistant Director of the HNP Negotiation Teaching Network. Helen talks to Deanna about conflict resolution at work, active listening, inquiry and curiosity and empathy and how those skills relate to the future of work for workplaces and individual employees. Transcript at: https://otter.ai/u/5C8iGbgwEXE8eiMDa7AnROk0Ak8?utm_source=copy_url Production by Michael Donaldson https://8sided.blog/8sided-about/

La Ventana se desplaza a Barcelona para hablar de nuevos modelos de ciudades. Nos visita Michael Donaldson, comisionado de Innovación Digital, Administración Electrónica y Buen Gobierno. Nuria Pujadas nos trae un reportaje sobre ejemplos de la Barcelona sostenible y digital. Xavi Puig y Kike García, El Mundo Today, nos presentan su nuevo libro, "Mejor no bromear con esto". Además Nico Castellano nos cuenta la última hora desde Ucrania en el primer aniversario del inicio de la guerra

Show Notes and Links: https://www.chrisbeatcancer.com/dr-michael-donaldson-on-healing-with-juicing-raw-food-and-the-hallelujah-diet/

Skillscast Season 1 Special As our network of FORWARD Fellows grows and gets to know each other, we're inviting them to get together for impromptu discussions on topics that are on their minds. In this episode, we invite you to join FORWARD development partner Daniel Bluzer-Fry and Fellows Diana Wu David, Sarah Lorimer and Sami Makelainen for their discussion about the kinds of skills and capabilities that underlie the practice of foresight. Transcript https://otter.ai/u/Ab8an75XYT5Px6CIze_WA7Kb8Ig Production by Michael Donaldson https://8sided.blog/8sided-about/ Image by Francesco Paggiaro, Pexels.

Sam Spurlin - a new organisational OS Peter Thomas talks to Sam Spurlin, one of our FORWARD Fellows and partner at The Ready, an organisational design consultancy focused on the future of work. Sam and Peter talk about the work that The Ready does in helping organisations find better ways to work. The Ready is based on the premise that as the world becomes increasingly complex and uncertain, bureaucracy and hierarchy are holding us back. The organizational operating system is broken and needs to be fixed Sam and Peter look at how The Ready works, how it seeks to have an impact and chat about some potential barriers and inhibitors to change in organisations and how that changes the experience of work for people in organisations of all kinds. You can read the transcript here: https://otter.ai/u/3uSq6C8knUKc927fsKcE0JmMXVY Read more about The Ready at https://theready.com/ https://medium.com/the-ready And follow Sam on Twitter @samspurlin Production by Michael Donaldson https://8sided.blog/8sided-about/

Demystifying diversity, equity and inclusion – what does it really look like? You might have heard the terms diversity, equity and inclusion at work, in newspapers or in conversations about leadership. But what might be harder to work out is what to do about it. Why does future-facing leadership require us to develop our inclusive leadership skills? What does doing a good job at diversity, equity and inclusion really look like? What principles and skills can we use to improve our workplaces, employee experiences and attract a diverse range of customers? Host Helen Babb Delia (Development Partner at RMIT FORWARD) discusses these questions and more with Khayshie Tilak Ramesh, Inclusion & Diversity Lead at Mecca, lawyer, board director, speaker and writer. Production by Michael Donaldson https://8sided.blog/8sided-about/

Debuting at a recent event titled “Nothing is quite what you think it is: Stories from the future of work”, Diana Wu David has crafted a story that teleports us into a fictional future context that brings to life how the various innovations we are just hearing about today, such as DNA profiling and the metaverse, could reshape work and society as we know it. In this episode of the podcast we hear Diana reading her story, followed with some reflection and commentary. You can also watch it on YouTube here: https://www.youtube.com/watch?v=F3iuNluoTFo Or read the transcript here: https://bit.ly/story-future-of-work-diana-wu-david-Oct-2022 Based in Hong-Kong, Diana is an author, Future of Work strategist, Financial Times Faculty member, TEDx speaker and an RMIT FORWARD Fellow. We featured Diana in Episode 5 which you can listen to here https://soundcloud.com/rmit-forward/rmit-forward-skillscast-s1e5-diana-wu-david Image generated by DALL·E 2 Production by Michael Donaldson https://8sided.blog/8sided-about/

Pete Cohen introduces FORWARD Senior Industry Fellow Lene Rachel Andersen, author of several books on the topic of bildung and co-founder and president of the future lab Nordic Bildung. In this conversation Lene introduces the concept of bildung, which we are waving into several of our workstreams at FORWARD, and gives a rich overview of its history and applications in a skills context. “Bildung is moral and emotional maturity. Bildung is also to have the education and knowledge necessary to thrive in your society; bildung is to be deeply embedded in culture and community while having the autonomy to carve your own path in life. Bildung is always personal and unique. Bildung is a German word that has no word in English. Beginning in the 1770s, German philosophers explored bildung as a secular form of inner development and it became popular among the bourgeoisie.” -from 'Bildung: Keep Growing'. https://www.linkedin.com/in/lenerachelandersen/ https://www.globalbildung.net Transcript of this conversation https://otter.ai/u/iB3gGxS7FE-rtIfZ-n0mpcDGFb8 Production by Michael Donaldson https://8sided.blog/8sided-about/

Pete Cohen introduces FORWARD Senior Industry Fellow Antony McMullen where they discuss his background working in the community sector and his current focus on cooperatives and the dynamics surrounding shared ownership. Freelancing and the gig economy are also discussed in the context of the Co-operative Freelancers Society - an initiative that Antony and Pete are incubating with the support of FORWARD. https://www.linkedin.com/in/antonymcmullen/ http://bonds.coop https://www.888causeway.coop https://twitter.com/antonymcmullen https://antonymcmullen.ghost.io Otter transcript of this conversation https://otter.ai/u/LXBkaYZ51vfDbQSxmA2-uKg1qxg Production by Michael Donaldson https://8sided.blog/8sided-about/

Pete Cohen introduces FORWARD Senior Industry Fellow Jerry Michalski, who 24 years ago started feeding a mindmap which is today the world's largest - which is reflective of his gift and commitment to connecting concepts, people and communities. Jerry is a keynote speaker on topics including consumerisation and trust, and in this conversation he weaves the threads of these themes back to the skills and future of work context. https://www.jerrymichalski.com https://www.jerrysbrain.com https://openglobalmind.com http://twitter.com/jerrymichalski Transcript here https://otter.ai/u/HDBirP7c14KL4E_wDGkZqR2hJVw Production by Michael Donaldson https://8sided.blog/8sided-about/

Development Partner Daniel Bluzer-Fry in conversation with FORWARD Senior Industry Fellow. Sarah Lorimer. Sarah is a cultural insight strategist with a background in brand strategy, and a focus on using futures to push brand and narrative growth. She is interested in how technology can illuminate predictive shifts in culture. Beyond her experience conducting research and consulting, Sarah has been a mentor for CSIRO ON-accelerator, Co-authored ‘Disruptive Futures and Brands' for Pause Festival (2017) and Contributed to 'Reconstructing Identity' (Palgrave MacMillan 2017) in a chapter titled ‘The Role of Narrative in the Creation of Brand Identity'. In this conversation, Sarah shares her eclectic educational background, her passion and perspective around democratising futures and foresight, along with some key interests in the world of skills and workforce transformation. Transcript here https://otter.ai/u/F8tfS7ZtYmQd-XhHrRJnM9EDhYQ Production by Michael Donaldson https://8sided.blog/8sided-about/

FORWARD Development Partner Pete Cohen in conversation with Industry Fellow Diana Wu David. Diana is a female futurist, speaker, educator and author who is passionate about empowering individuals, businesses and boards globally to master the skills, mindsets and capacities they need to create inspiring futures that matter. Pete and Diana discuss the shifts she is observing in industry from “just in case” learning to “just in time” learning in response to the increasing rate of change, as well as the nature of networks within organisations and role that technology is taking in bringing together the ideal group of people into teams to deliver projects. Diana's book 'Future Proof - Reinventing Work in an Age of Acceleration' looks at how accelerating change, disruption, globalization and increasing longevity are creating a new and uncertain world of work. Diana's Future Proof Lab provides executive coaching for senior executives, board directors and entrepreneurs, board, ExCo or workshop facilitation and team coaching, foresight advisory and capability development. https://dianawudavid.com https://www.linkedin.com/in/dianawudavid/ Otter transcript of this conversation https://otter.ai/u/87ydC9O2vwRpV4S1_EWMIX1D4Vk Production by Michael Donaldson https://8sided.blog/8sided-about/

If you have a taste for beer or cider, we are spoiled for choice in New Zealand.  The New World Beer and Cider Awards have just been held. Author and beer writer and Chair of the judges, Michael Donaldson, joins Jesse.

In this episode we had a talk with Michael Donaldson, the head coach of Reading FC U18.We talked about the characteristics of a U18 team, how covid affects the pathway to the first team, personal development and the difference between a CL level academy and a championship level academy.Support the podcast by becoming a member of The coaches' room.  With your support we can continue to invite elite coaches to inspire you. As a benefit you will have access to all the webinars of Football Webinars.Stay updated on all our content and follow us on:InstagramLinkedInTwitterFacebook 

Today's guest deejay is danielfuzztone. daniel's mix is important to me for several reasons. One reason is that I meant daniel through Soundwave guest deejay Michael Donaldson (listen to Michael's mix here) when he posted an interview with daniel on his Micro.blog. Initially, I read the interview simply because it was on Micro.blog, a cool social media network I am a member of. But what hooked me was the interview itself and daniel's exploration of sound through this music. The other reason today's show is important to me is that while I love all the mixes on Soundwave, and I mean that, daniel's mix hit me in all the right places. He included some familiar and precious tracks from the likes of Miles Davis, This Mortal Coil and Skinny Puppy. This is stuff I immersed myself in the 80s and 90s, so it felt like putting on a well-worn sweater. But daniel's mix included a lot of stuff I had never heard of before, like Oliver Coates, Besombes & Rizet, and Angelo Badalamenti. It was a perfect blend of the familiar and unfamiliar that his mix provided just under an hour's with of dopamine hits. The final reason is that I listened to daniel's mix many places (while working, walking my dog, doing the dishes, etc.), but the place that had the most significance was in my car while driving my grandkid to day school. The experience is already special because I enjoy watching all the adults delivering their most precious of cargos and seeing the love and concern on their faces. daniel's mix heightened and already tender experience. Join us next weekend when our guest deejay will be Sean Slight. See you then! danielfuzztone “Prima Facie” Brian Eno “Triennale” The House in the Woods "Bucolica” Mark Pritchard “?” Miles Davis “In a Silent Way” Steven R. Smith “Awake” William Basinski “The Wheel of Fortune” danielfuzztone “Nishiki 10-Speed Dream” Boards of Canada “XYZ” Cult48 “Deep Calls to Deep”

Today's guest deejay is Michael Donaldson. I met Michael when he posted an interview with Daniel Fuzztone on Micro.blog. I enjoyed the interview and Michael's other blog posts and Daniel's music, so I invited both of them to guest deejay on Soundwave. We'll hear Daniel's mix in December. I got a kick out of Michael's blog. It's got a lot of 80/90s feel to it, so for me hearing Daniel's mix was like putting on a comfortable, worn-in sweater. Daniel's mix is wonderful, but the track that got me in the feels was My Bloody Valentine/Skylab's "Incidental Peace.” It's such an unlikely collaboration but somehow weaves a seamless blend of shoegaze and electronic music. It's all kinds of wonderful and "Incidental Peace” is buttressed between music that is equally gorgeous. Okay, time for me to pack it in. Tomorrow is my boy's first baseball game of the season. I'll be honest, even with social distancing I think it's going to be unsettling being around so many people. At lest we'll all be outdoors. Join us next week when our guest deejay will be Gert De Meeseter. See you then! Gemini Revolution “Crumarooned” Bjørn Torske “HemmeligOrkester” Ralph Kinsella “Suffuse” Bill Nelson “Night Tides” More Ghost Than Man + San Mateo "11811 (Georgy Block 7.7)” Holger Czukay “Radio in an Hourglass" My Bloody Valentine meets Skylab "Incidental Peace” Fila Brazillia “Midnight Friends” Bill Nelson “Clothed in Light Amongst the Stars” Elijah Knutsen “Somewhere Knows” Q-Burns Abstract Message “The Burning City” --- Send in a voice message: https://anchor.fm/soundwavemix/message

Today's guest deejay is Robert Farrugia, co-founder of Complex Holiday, an itinerant label for inside-out ambient and sound art tomfoolery. I'm usually fastidious about tracking how I come to know guest deejays on Soundwave. Unfortunately, my initial conversation with Robert began on Facebook Messenger and that chat is lost to the ether. Well, really, Facebook has that conversation stored somewhere. But it's as good as gone for me. Whatever lead me to Robert, I'm glad I invited him to join us. What you may or may not know is that I get the mixes you hear months in advance. I usually enjoy it for a week or two before I move on to listen to the next guest deejay's mix. I'll also re-listen to the mix a few weeks before their show is released. I listen to the mixes a lot. Robert's mix was a welcome companion for the last week. Nationally, the U.S. is caught between wildfires and hurricanes. Internationally, the U.S. has left Afghanistan. And on a personal note, the was my kid's first week at high school. While our area is 75% vaccinated, I'm still anxious about how this will work out. Within the first week there's already been a report of a student with COVID-19. Robert's mix felt like an echo of how I've been feeling about all of it. There's a tension that builds up early in Robert's mix that unravels nearly halfway through before exploring different sonic territory. The mix ends hauntingly and somberly. That feels right. Join us next week when our guest deejay will be Michael Donaldson. See you then! Dylan Henner “I Was Reading the News But I Felt So Sad I had to Stop” Snap Dragon “Breathe” Benoît Pioulard “Whose Palms Create” Robert Farrugia “Tlellix” Warmth “Cirrus” David Cordero “Sevredol (Sight Below Remix)” Marsha Fisher “Chapter House” Kurt Buttigieg “Confiance en quoi” --- Send in a voice message: https://anchor.fm/soundwavemix/message

The Sports Honchos - Hosted by Paul C. Cuthbert and Robert Kuney.The Honchos brought it strong tonight with a Super Bowl Halftime Show-type presentation: jam packed with entertainment and longer than a normal show. No extra charge friendos.The showgram started with a look at some Valentine's Day alternatives to the usual flowers and candy and then the Honchos talked about anger in America through the lens of a snow removal argument that turned fatal. Quite the transition! Before diving headfirst into sports the Honchos were proud to announce their official affiliation with the Dean Blundell network of podcasts. The sports yak started with the official release of the schedule for this year's NCAA March Madness followed by an examination of two big stories in the NBA - the debate over the All-Star game and the playing of the national anthem before games. Next the Honchos laced up their skates for some hockey talk. Should the NHL postpone the season? Will the hires of Ron Hextall and Brian Burke work in Pittsburgh? On the diamond the Honchos tossed around their thoughts on the latest negotiations between the MLB and MLBPA as well as the signing of Trevor Bauer by the Dodgers.The NFL Recap was a look back at Super Bowl 55 - the game, the coaches, the pregame and halftime entertainment, the ratings, the commercials, and the best call of the night from National Treasure Kevin Harlan. The show wrapped with a look at the massive layoffs at Bell Media and the DOTW. This week's winner was NFL reporter Michael Donaldson (with an honorable mention to the Washington Post).Subscribe, rate and review at Apple and Spotify podcasts.Follow along @sportshonchos.

Charlamagne gave "Donkey of the Day" to reporter Michael Donaldson for not only confusing two black Tampa Bay bucs coaches for one another, but to also doing it during Black History Month! Learn more about your ad-choices at https://www.iheartpodcastnetwork.com

Today on the show we had Kirk Franklin spread the good word, while speaking about his new podcast "Good Words" and more. Also, Charlamagne gave "Donkey of the Day" to reporter Michael Donaldson for not only confusing two black Tampa Bay bucs coaches for one another, but to also doing it during Black History Month! In addition, we opened up the phone lines to see if any of our listeners ever got confused with someone else. Learn more about your ad-choices at https://www.iheartpodcastnetwork.com

Copyright in a Nutshell for Artists & FilmmakersBrian L. FryeIntroductionHello! Welcome to this introduction to copyright for artists and filmmakers. I’m Brian L. Frye. I’m a professor of law at the University of Kentucky College of Law, where I teach copyright law, among other things. But I’m also an artist and a filmmaker. I earned an MFA in film from the San Francisco Art Institute, was included in the 2002 Whitney Biennial, and co-produced the documentary film Our Nixon, which premiered at SXSW and was broadcast on CNN. So, I understand copyright not only from the perspective of a lawyer, but also from the perspective of an artist and a filmmaker.The purpose of this lecture is to help you understand copyright law and how it affects artists and filmmakers. Hopefully, they will provide practical information that will be useful for practicing artists and filmmakers. Obviously, I can’t even begin to explain all of copyright law in an hour. But I will address the most important concepts and help you understand how they apply to art and movies.I’ll begin by asking why copyright exists in the first place. There are lots of ways to answer that question. For example, some people think the purpose of copyright is to help authors profit from their works. Other people think it’s to help authors control the use of their works. And still others think it’s to benefit the public, by encouraging authors to create works in the first place. Maybe all of those reasons are true. Often, they all point to the same answer. But sometimes they conflict with each other. And when they do, we have to ask which reason is the most important and why.Next, I’ll ask what copyright protects. The answer is, almost everything! Copyright protects the original elements of a work of authorship. But it is very forgiving. Essentially, an element of a work is original so long as it isn’t copied from another work.I’ll ask how you get a copyright, and what you should do once you have one. The answer is, it’s easy! As soon as you create a work, you own a copyright in all of its original elements. No need to do anything else. But you can and should register the work with the Copyright Office, if you think it might have commercial value, because you usually can’t enforce your copyright without registering it.I’ll ask how long a copyright lasts. The answer is, almost forever! Currently, the copyright term is usually the life of the longest-lived author of a work, plus an additional 70 years. The exception is that copyright in works created for an employer lasts 95 years from creation or 120 years from publication, whichever expires first. When the copyright term ends, a work falls into the public domain, which means that anyone can use it in any way they like, without asking permission.I’ll ask what copyright does. The answer is, it gives authors certain exclusive rights to use the works they create. Specifically, copyright gives authors the exclusive right to copy, sell, and show their works, as well as the exclusive right to create new works based on their works. Of course, authors can sell those rights to others. And there are also certain limits on their exclusive rights, including fair use.I’ll ask what counts as copyright infringement. The answer is, any use of a work that violates one of the exclusive rights of the copyright owner may be infringing, unless the owner gave permission. In other words, copying a work, selling copies of a work, and presenting a work to the public all may be copyright infringement. Likewise, using elements of a work to create a new work may also be copyright infringement, if the new work is sufficiently similar to the original.I’ll ask what happens to copyright infringers. The answer is, nothing good! The copyright owner can not only force them to stop infringing, but also force them to pay damages. Copyright owners who prove infringement are always entitled to actual damages, but many copyright owners are also entitled to statutory damages, which may be substantial, even if the cost of the infringement was trivial.And I’ll ask what fair use is and why it matters. The answer is that it’s the most important exception to copyright infringement, because it ensures that copyright permits free speech. Among other things, the First Amendment prevents the government from limiting speech, without a really good reason. Copyright necessarily limits speech, by preventing people from using works in certain ways without permission. Fair use says that copyright owners can’t stop people from criticizing or discussing their works.Obviously, there’s a lot more to copyright than these eight questions. But I think they will help you better understand what copyright is for, what it protects, what it prohibits, and what it permits. And maybe most importantly, I hope they encourage you to ask what copyright actually does, whether it is effective, and how we could improve it.What is Copyright?You may have heard people talk about “intellectual property,” a blanket term for ownership of expressions and ideas. Copyright is a kind of intellectual property that protects original works of authorship. Other kinds of intellectual property include patent, which protects novel inventions and discoveries, trademark, which protects distinctive marks used in commerce, and trade secret, which protects confidential commercial information. While we refer to all of these things as intellectual property, they don’t really have anything to do with each other, other than that they all protect “knowledge goods,” or valuable concepts.People often confuse the different kinds of intellectual property. That’s a problem, because they protect different things in different ways. For example, in order to get a patent, you have to describe your invention to the Patent Office and explain why it is new. If you get a patent, it can only protect the new thing you invented, and other people can use your invention to create other new things. In order to get a trademark, you have to use a symbol in a way that communicates information to consumers. For example, you could use the word “apple” to tell consumers who made a computer. Or you could use the word “amazon” to tell consumers who is selling a book. For what it’s worth, a commercial publisher uses the phrase “in a nutshell” to identify its legal study aids, but they did not publish this lecture or essay, and I have nothing to do with them. Are you confused?Anyway, copyright gives authors ownership of the works they create. Or rather, copyright says that no one can copy, sell, or show a protected work, without the 7author’s permission. Copyright has existed for a long time, more or less since the printing press made it possible to publish books. Copyright forced publishers to compete by selling different books, rather than by selling the same books for lower prices.The Constitution gave Congress the power to create copyright in the United States, and it did. In the United States, copyright is created almost entirely by federal law. While most other countries have also created copyright, different countries protect copyright in different ways. However, most countries have joined the Berne Convention for the Protection of Literary and Artistic Works, which provides some common ground.People disagree about the purpose of copyright. In the United States, most people think the purpose of copyright is to encourage authors to create new works. If copyright didn’t exist, people wouldn’t have to pay for works of authorship, and it would be hard for authors to make a profit. Copyright means authors can force people to pay, which encourages them to create more works. This is an economic theory of copyright, because it says that the purpose of copyright is to benefit the public, by encouraging authors to produce works the public wants.But many people think the purpose of copyright is really to protect authors. Some people think that authors have a natural right to own and control the works they create. After all, a work doesn’t exist until an author creates it. Surely people ought to be able to control the things they create? Other people think authors ought to be able to control the use of the works they create, because they express the autonomy and personality of the author. Why shouldn’t people be able to control the use of their ideas and expressions? These are moral theories of copyright, because they say the purpose of copyright is to protect the rights of authors.Theories of copyright matter, because they shape what copyright protects and prohibits. We decide what copyright should do by asking what copyright is for. Often, economic and moral theories of copyright reach the same results. But sometimes they don’t. For example, the economic theory of copyright says people can use a work, so long as they pay for it. But the moral theories say authors can stop people from using their works, even if they are willing to pay. So, is copyright about compensation or control? As always, it depends. But how we answer that question shapes both copyright and the freedom of speech.What Does Copyright Protect?Copyright protects original works of authorship fixed in a tangible medium. That’s a mouthful, but it doesn’t mean much. As a practical matter, copyright protects just about everything you create. Obviously, copyright protects books, songs, paintings, and movies. But that’s not all. Copyright protects a lot more besides. Every email, tweet, instagram, tiktok, snapchat, and text is also protected by copyright, so long as it’s arguably unique, even in the most trivial way.But I’ll be more specific. The Supreme Court held that a work of authorship is original and can be protected by copyright only if it was independently created by the author of the work and reflects some minimal degree of creativity. Independently created just means not copied. Even the most banal work is independently created, so long as it isn’t a copy of another work. After all, most emails aren’t copied, and every snapshot is by definition unique. Of course, copyright also requires creativity. While it’s unclear what creativity requires, it clearly doesn’t require much. The Supreme Court held that copyright couldn’t protect a white pages telephone directory, because it totally lacked creativity. But it implied that copyright could protect anything else.Some works of conceptual art might not be protected by copyright, if they are sufficiently abstract. But the overwhelming majority of works are obviously protected. As a rule of thumb, if your work consists of more than an abstract idea, it’s almost certainly protected by copyright.What’s more, copyright protects every original part of a work. So, if you create a work, you own the work as a whole, but you also own all of the original elements of the work. Obviously, copyright protects the sentences in a literary work and the images in a pictorial work, but it may also protect a particular way of expressing an idea in literary or pictorial form.But copyright can’t protect abstract ideas, only particular expressions of those ideas. In other words, as the elements of a work get more abstract, they get less copyright protection, until they get none at all. Or rather, copyright can protect a particular way of expressing an idea, but can’t protect the idea itself.An important thing to remember is that copyright only protects intangible works of authorship, not particular copies of those works. So, copyright protects the text of a novel, not particular books. But copyright also protects the intangible work of authorship expressed in a painting or sculpture, not the physical object itself.How Do You Get a Copyright?I bet you’ve heard people talk about copyrighting their work of authorship or telling you to copyright something you’ve created. They don’t know what they’re talking about. Copyright isn’t a verb. You can’t copyright anything, because copyright automatically protects works of authorship, as soon as they are created and recorded.The Copyright Act provides that copyright protects original works of authorship fixed in a tangible medium. In other works, as soon as you create something and create a record of what you created, it’s protected by copyright, automatically. You wrote down a poem? It’s protected by copyright. You recorded a song? It’s protected by copyright. You made a video? It’s protected by copyright.Of course, you can also register your work with the Copyright Office. Registration doesn’t create copyright ownership. But it does give copyright owners certain valuable rights, including the right to sue for copyright infringement, and the right to demand statutory damages, as opposed to actual damages, which may often bee nominal.Copyright registration is easy and relatively inexpensive, and you can do it online. If you’ve created a work you think might have commercial value, it might make sense for you to register it. You might even be able to register several works at the same time. But you don’t need to register your works in order to own a copyright in them. And it probably doesn’t make sense to register them, unless you want to be able to stop people from using them without your permission.Anyway, whether or not a work is registered, the author can only own the original elements. Sometimes, they are quite valuable, but more often than not, they aren’t. More often than not, copyright is a way for people to accept that the dream is over, because no one is offering a better deal.Who Owns a Copyright?In theory, copyright ownership is simple. If you create a work of authorship, you own the copyright in the work you created. But in practice, it can get complicated. After all, some works are created by many different people, and many works are created for an employer.When people create a work together, everyone who participates is an author and a copyright owner, so long as they contribute an original element that copyright can protect and everyone agrees they are a co-author. So, if you have the idea for a work, but don’t actually participate in creating it, you aren’t an author or copyright owner, because copyright can’t protect ideas. And if you edit a work created by someone else, you aren’t an author or a copyright owner, unless the original author agrees.Co-authors own the copyright in a work jointly. In other words, all of the authors own the entire work collectively, and all of the authors can use the work in any way they like, so long as they don’t harm the value of the work, and share any profits with the other owners. Of course, the owners of a work can make more complicated agreements about how to use the work and share profits, as well.If a work is created by an employee for an employer, then it is a “work made for hire,” and the employer is the author for the purpose of copyright ownership. For some works, like movies, everyone can agree that the work is a work made for hire in a signed contract. But many works, like books and paintings, can be works made for hire only if the person who creates them is actually an employee, which usually means they have to be on payroll.Copyright is a property right, so it can be transferred, like any other property right. While the author of a work is the initial copyright owner, the author can transfer copyright ownership to someone else. Authors can even transfer copyright ownership before they even create a work. In addition, copyright owners can transfer as much or as little of their copyright as they want. If you own the copyright in a movie, you can sell it to someone else, or you can sell part of the copyright, like the right to show the movie in a particular place, in a particular way, for a particular period of time.When authors sell their copyright in a work, they may eventually be able to get it back. The Copyright Act allows authors to terminate the transfer of copyright after 25 years, by following certain procedures. However, the person who created a work can terminate its transfer only if they were the initial author and copyright owner. In other words, an employee can’t reclaim the copyright in a work made for hire, because they were never the author in the first place.How Long Does a Copyright Last?The length of copyright protection has gradually increased over time. Initially, copyright lasted 14 years, but could be renewed for another 14 years. Every once in a while, Congress made the copyright last longer, until it lasted 56 years. Then, in 1976, Congress revised the Copyright Act to make copyright last until all of the authors of a work died, plus an additional 50 years. And in 1998, Congress made copyright last an additional 20 years.Today, copyright usually lasts for the life of the author or authors of a work, plus an additional 70 years. However, because the author of a work made for hire is usually a company, copyright in those works lasts for 95 years from publication or 120 years from creation, whichever ends first.When the copyright in a work ends, it enters the public domain, which means no one owns it anymore, and anyone can use it in any way they like. Every year, on January 1, works published 95 years earlier enter the public domain. So, in 2020, works published in 1925 entered the public domain.In theory, copyright is supposed to ensure that works are available to the public, by giving copyright owners an economic incentive to publish them. But in reality, most of the works protected by copyright aren’t worth anything when they are created, and even those that are worth something quickly lose their value. As a result, many works are unavailable, because the copyright owner can’t be bothered to publish them. But copyright means that no one else can publish them either. Scholars have observed that public domain works are far more widely available than works protected by copyright, precisely because people can make them available without worrying about infringement.Many people think copyright lasts too long and protects too many things. They think more works should be in the public domain and people should be able to use copyrighted works more freely. Unfortunately, the law isn’t on their side. Congress assumes people want to own whatever they create, and tends to make copyright stronger and longer, rather than shorter and weaker. In fact, the Copyright Act doesn’t even provide a way for people to put works they own in the public domain.Accordingly, people who want less copyright protection created Creative Commons licenses, which enable copyright owners to give people permission to do things copyright prohibits. After all, if copyright owners can sell their rights, they can also give them away. The most popular Creative Commons license is the CC-BY license, which permits people to use a work in any way they like, so long as they credit it to the author. But there is also a CC0 version, which declares a work to be in the public domain.What Does Copyright Do?Copyright gives copyright owners the exclusive right to use the work they own in certain ways. That’s why we call it a property right. It creates the right to exclude people from using a work without permission. Broadly speaking, copyright gives copyright owners four exclusive rights: reproduction, distribution, presentation, and adaptation.The reproduction right is the essence of copyright. It says that copyright owners have the exclusive right to create copies of the works they own. In order to use a work, you need a copy of it. The reproduction right enables copyright owners to control access to a work by controlling the creation of copies. Of course, it is often observed in the breach. People often create copies of works, without even realizing they are infringers. After all, if you’ve ever created a mixtape for your friend, or written down the lyrics of your favorite song, you’ve infringed the reproduction right.The distribution right reflects the reality of copyright ownership. The primary purpose of copyright is to enable copyright owners to profit from the works they own. Accordingly, copyright owners care about commercial uses of their works, but don’t care about private uses. The distribution right gives copyright owners the exclusive right to distribute copies of their works to the public. Or to put it more bluntly, only copyright owners can sell copies of their works.The most important limitation on the distribution right is the first sale doctrine, which says that copyright owners can only control the distribution of a particular copy of their work the first time it is sold. The first sale doctrine is why we have used bookstores and record stores. Only the copyright owner can create and sell copies of a book or record. But once they sell a copy, it’s just a thing, and the owner can sell it like any other thing.The transition from physical to digital media is a problem for copyright, because it’s unclear how to distinguish between a work and copies of a work. It used to be that copyright protected a story or a song, but not a particular book or record. But what is the difference between a story and text file, or a song and an audio file? What does it mean to own a digital file, if anything?The internet is also a problem for copyright because it makes reproducing and distributing works essentially free. Back in the day, it was expensive to make copies of a work and make them available. Now, it’s effortless and free. Suddenly, copyright ownership is pure profit, with little or no risk, once a work proves popular. But how much should copyright owners be able to charge, as their costs evaporate? Copyright was designed for a world in which reproduction and distribution were costly. Does it make any sense in a world where they are free?The presentation right gives copyright owners the exclusive right to publicly display or perform the works they own. It used to be that public display and performance was how copyright owners made money. For example, when people went to movie theaters, the public performance right enabled movie producers to profit from every screening. Today, the public display and performance rights are important primarily because they supplement the distribution right.The adaptation right gives copyright owners the exclusive right to create derivative works, or new works based on a work they own. Typically, that means translating a work into a different language, transforming it into a different medium, or creating a sequel. But the adaptation right is much broader. It gives copyright owners the exclusive right to use any original element of the work they own, which means every sentence of a book, riff in a song, or sequence in a movie might be protected by copyright.Almost everything we create is a derivative work, even though we don’t realize it. The Copyright Acts says that a derivative work is a work that incorporates an original element of a previously existing work. Well, most works owe at least something to an existing work. And quoting or paraphrasing an existing work is a great way to make your work a derivative work, at least from a copyright perspective. We tell ourselves that works are original, but in reality almost all of them are based on something else. And we like it that way. People tend to like familiar things, and dislike weird ones. Most people don’t like creativity all that much. A little bit is fine, but don’t overdo it.Anyway, while most people think copyright protects works as a whole, it actually protects every element of a work, no matter how small, as long it qualifies for copyright protection. Of course, copyright protects almost everything, so almost every element of a work is protected by copyright, whether or not the author even realizes it. For better or worse, any element of a work that makes people think about the work is probably protected by copyright, and lots more besides!Copyright also gives artists special protections. In 1990, Congress passed the Visual Artists Rights Act, which gave artists the rights of attribution and integrity, in order to bring United States copyright law in line with the Berne Convention. The attribution right enables artists to prevent plagiarism and the right of integrity enables artists to prevent the destruction of their works. But VARA doesn’t really do all that much. It only applies to unique works, only protects important works, and can be waived by the artist. When a work is valuable, the owner usually wants to attribute and protect it. The only time VARA really matters is when the owner of a work wants to get rid of it. Many recent VARA disputes involve graffiti. When a property owner wants to demolish a decorated building, in order to create a new one, who’s in the right? It all depends on how you think about copyright ownership.What Is Copyright Infringement?Copyright is a property right. The primary purpose of copyright is to prevent people from using a work without permission. And any commercial use of a work might be infringing. But of course, it depends. In order to prove copyright infringement, a copyright owner has to show the defendant actually copied a protected element of the work, and that the works are similar, because of the copied element.Actual copying matters, because most works are similar to each other. Or rather, copyright only protects the original elements of a work, but most works aren’t all that original, and people have a disconcerting tendency to arrive at the same ideas at the same time. Sometimes, works are similar because of copying. But often, it’s just a coincidence. It’s not unusual for people to have similar ideas at the same time.But copyright infringement also requires substantial similarity. In other words, a new work infringes a previously existing work only if it actually copies elements of the previously existing work, and is substantially similar to that work, because of what it copied.Different courts have different ideas about how to identify substantial similarity. Some courts identify the protected elements that the allegedly infringing work copied, and ask whether copying those elements constitutes infringement. Other courts just compare the two works, and ask whether they are similar. Obviously, how you ask the question affects the outcome. On one level, more copyright protection is good for artists and filmmakers, because it enables them to exercise more control over their works, and claim more profits. But on another level, its bad, because copyright makes it harder for artists and filmmakers to use existing works in order to create new works.More often than not, artists and filmmakers want to have it both ways. They want to be able to use existing works when it’s convenient. But they also want to control the use of the works they create. How should we square the circle? Should we let authors control how people use their works, or should we let people use works however they like?You’ve probably heard about plagiarism. It’s similar to copyright infringement, but different. Copyright gives authors certain rights to control how their works are used, in order to enable them to make a profit from selling their works. Plagiarism norms allow people to copy and use works without permission. They only require attribution. But if you copy a work without attribution, the plagiarism police will make you sorry.Notably, plagiarism norms protect works and elements of works that copyright can’t protect. Copyright can’t protect ideas, but plagiarism norms do. Copyright says you can copy ideas willy-nilly. But the plagiarism police will punish you if you copy ideas without attributing them to their “owner.” Similarly, copyright says you can use public domain works in any way you like, but the plagiarism police disagree. For example, copyright says that I can publish The Importance of Being Earnest by Brian L. Frye. After all, it’s a public domain work, and I can use it in any way I like. But plagiarism norms say I can’t, and the plagiarism police would punish me if I tried.What Happens to Copyright Infringers?Copyright enables copyright owners to profit from their works. But it also lets them force other people to shut up. When a copyright owner notices that someone is using their work without permission, they can tell them to stop. If the work is registered with the Copyright Office, they can also file an infringement action. Even if you prove infringement, it can be hard to prove damages. But the Copyright Act enables copyright owners who register their works to claim statutory damages, which can be substantial, even if there is no evidence of actual harm. In fact, statutory damages can be as much as $150,000 per infringement, although courts usually award less. Still, the risk of damages can encourage defendants to settle, even if the infringement claim is weak.Copyright owners can also seek an injunction, to prevent an infringer from using their work. The problem is that injunctions can infringe free speech. After all, copyright owners are usually happy for people to use their works. If they want people to stop, it’s usually because they want to control what people have to say. But sometimes, people use copyright because they don’t have any other choice. For example, some people have used copyright to suppress images and videos of themselves. It’s understandable that people would use any tool available to protect themselves. But should they have to rely on copyright? After all, it applies to some offensive works, but not others. Or should we find another way to suppress offensive works?But the internet has its own rules. Many people think the internet is a copyright-free zone. Wrong! But it can be hard to enforce copyright on the internet, not only because so many internet users are anonymous, but also because the internet is just too vast to monitor.Anyway, most copyright owners want to stop popular platforms like YouTube and the Internet Archive from providing infringing content. Not to mention illicit pirate sites. In 1998, Congress passed the Digital Millennium Copyright Act or DMCA. Among other things, section 512 of the DMCA gave websites a safe harbor to protect them from copyright infringement liability for third-party content. Under the DMCA, if a copyright owner tells a website that someone has uploaded an infringing file, the website is immune from liability if it takes down the content. If the person who uploaded the content objects to the takedown, the copyright owner has to file an infringement action. If they don’t the website can restore the file.What is Fair Use?Copyright prevents people from using works without permission. But copyright has many exceptions. The most important exception is fair use, which provides that people can use works without permission, if they have a good reason. Essentially, copyright says that copyright owners have an exclusive right to use the works they own in order to make money. But fair use says that everyone else has a right to use those works in order to talk about them, so long as they aren’t competing with the copyright owner.In other words, copyright says that the copyright owner of a book has the exclusive right to reproduce and sell copies of the book. But the fair use doctrine says that other people have the right to copy parts of the book in order to criticize it, or comment on its reception. Fair use ensures that copyright owners can’t abuse copyright, by preventing them from asserting copyright claims against infringers who are engaging in protected speech.The fair use doctrine has existed for a long time. In fact, a version of the fair use doctrine is probably as old as copyright itself. After all, when publishers invented copyright in the 17th century, it reflected industry norms and expectations, same as always. When copyright became a property right, rather than a cartel norm, courts recognized certain exceptions, which came to be known as fair use. And when the United States created copyright law, courts read fair use into the statute.Eventually, Congress codified the fair use doctrine in the Copyright Act of 1976. At least in theory, the codification wasn’t supposed to change the law. Among other things, it identified four factors that courts should consider when determining whether an unlicensed use of a copyrighted work is a protected fair use:Whether the use transforms the original work;Whether the original work is factual or fictional;How much of the original work is used; andWhether the new work is a substitute for the original work.Typically, the first factor is the most important. Courts tend to ask whether the use of a work is transformative. If they answer yes, it’s almost always a fair use. The problem is that no one knows what “transformative” means. Sometimes, a use is transformative if consumers can tell the difference between the original work and the new work. But sometimes it isn’t. After all, a court held that Blurred Lines infringed Got to Give It Up, even though no one could possibly confuse the two songs. Sure, they are similar, but they aren’t the same. Transformativeness says changing a work avoids copyright infringement, but it doesn’t tell us how much change is necessary.At the end of the day, courts don’t actually rely on the fair use factors, any more than they rely on any other doctrinal test. In reality, they ask themselves whether a use is infringing, and use the test to explain their decision. So, a use is transformative if the judge thinks it should be protected, and not transformative if the judge thinks it should be infringing.The Supreme Court has explicitly recognized that copyright owners can’t prevent people from making fun of their works. But it hasn’t done a great job of explaining the scope of the fair use doctrine. Many people think fair use protects parody, and little more. They’re wrong. Fair use can protect any critical use of a work that isn’t a substitute for the work it criticizes.Many people are critical of fair use. Some of them think it goes too far. After all, why should people be able to use a copyrighted work without permission, or even paying a licensing fee? But others think it doesn’t go far enough. The copyleft advocate Lawrence Lessig famously referred to fair use as “the right to hire a lawyer,” because it can be hard to know whether you are protected, and expensive to defend yourself, if a copyright owner disagrees.But copyright maximalists and copyright skeptics both go too far. Yes, there’s a lot of copyright infringement, and it can be hard for copyright owners to stop it. But works are made to be used. And users have rights too, whether or not authors like it. For example, fans can and should be able to use the works they love to create new works, especially when they do it for free. Sure, some authors don’t like it. But when you create a popular work, public commentary comes with the territory.As for copyright skeptics, they’re right that fair use can be dangerous ground. But at the same time, we do fair use all the time, without even thinking about it. After all, quoting an article is technically infringing, but fair use. And yet, we don’t think of it that way. Rather, we just think of it as non-infringing. The purpose of fair use is to force us to have a conversation about the kinds of uses we want copyright owners to be able to control, and the kinds of uses we want to protect.And things have begun to change, especially for filmmakers. Thanks to the efforts of copyright lawyers like Michael Donaldson, filmmakers who claim fair use can insure themselves against the risk of copyright litigation. If you can insure yourself against a risk, you can safely ignore it. As a consequence, filmmakers take full advantage of the fair use doctrine.Artists have always ignored copyright, using whatever they like to create their works. As Picasso famously observed, good artists copy, but great artists steal. Actually, he probably lifted the quip from someone else. The point is that artists usually don’t care about copyright, because they typically create and sell unique objects, not copies. But some artists have been hit with copyright infringement actions anyway. Andy Warhol copied the image he used for his popular Flowers paintings, and ultimately paid a licensing fee. More recently, Jeff Koons and Richard Prince have been sued for copyright infringement, with mixed results. Maybe artists need a way to insure themselves against copyright infringement actions, too?At the end of the day, the purpose of the fair use doctrine is to ensure that people can use copyrighted works in productive ways. Does it always accomplish that goal? No. But at the very least, fair use encourages people to think about what copyright is supposed to do, and what it is supposed to accomplish. See acast.com/privacy for privacy and opt-out information.

On this episode we catch up with Michael Donaldson who lived in Kew Student Residence in 2016-17 and is currently living in 'the House' after moving there in 2019.

On this episode of Spot Lyte On... LP sits down with Michael Donaldson to talk about his newsletter Ringo Dreams of Lawncare, his blog 8 Sided Blog, the virality of independent music pre-internet, Kraftwerk, Tony Allen, the Clash, and finding your scene.Best known in the industry as Astralwerks/Virgin Records recording artist Q-Burns Abstract Message, Michael Donaldson learned the ins-and-outs of the music business through managing the influential '90s electronic imprint Eighth Dimension Records. Once the 21st century was in full swing, Michael transformed the label into the music licensing agency 8DSync and a new label, 8D Industries. Michael is also a writer on the topic of "music-listening and music-making and how technology changes the culture around those things." His insights are found on 8sided.blog and his weekly email newsletter, Ringo Dreams of Lawn Care. Michael tries to take a photo of the sunrise every morning and will send the latest one to you if you ask.Learn more about Lyte: http://www.lyte.com Hosted on Acast. See acast.com/privacy for more information.

On this episode of Spot Lyte On... LP sits down with Michael Donaldson to talk about his newsletter Ringo Dreams of Lawncare, his blog 8 Sided Blog, the virality of independent music pre-internet, Kraftwerk, Tony Allen, the Clash, and finding your scene.Best known in the industry as Astralwerks/Virgin Records recording artist Q-Burns Abstract Message, Michael Donaldson learned the ins-and-outs of the music business through managing the influential '90s electronic imprint Eighth Dimension Records. Once the 21st century was in full swing, Michael transformed the label into the music licensing agency 8DSync and a new label, 8D Industries. Michael is also a writer on the topic of "music-listening and music-making and how technology changes the culture around those things." His insights are found on 8sided.blog and his weekly email newsletter, Ringo Dreams of Lawn Care. Michael tries to take a photo of the sunrise every morning and will send the latest one to you if you ask.Learn more about Lyte: http://www.lyte.com

In this episode, I talk to Michael Donaldson, The CIty of Barcelona Commissioner for Digital Innovation. Michael shares his observation on how Barcelona has evolved into a Citizen centric Smart & Sustainable City. We discuss best practices in tackling mobility challenges and engaging with Citizens through their Decidim platform. www.decidim.barcelona --- Send in a voice message: https://anchor.fm/pierremirlesse/message

Smart sensors can improve citizens' lives, especially when residents are put in charge of gathering the data. Jane Wakefield reports from the Placa del Sol in Barcelona, where Guillem Camprodon of the city's Fab Lab explains how his initiative of placing noise detectors around the square helped residents finally get the city council to take the problem of night-time disturbances seriously. Michael Donaldson, the city's commissioner for digital innovation argues that public authorities ought to be able to collect more user data, in the same way that online businesses do, in order to improve public services. But tech consultant Charles Reed Anderson warns that the hype around the potential for smart cities far exceeds what is currently achievable, while Sandra Baer of Personal Cities argues that humans need to remain at the centre of such efforts. (Picture: Noise level sensor in Barcelona; Credit: BBC)

What does an independent artist need to know to find success in the world of sync licensing? Michael Donaldson of 8DSync and 8sided.blog shares his experiences as an artist with sync placements spanning the past couple of decades.Michael Donaldson is best known in the music industry as Astralwerks/Virgin Records recording artist Q-Burns Abstract Message. Under this name, Michael wrote and produced four acclaimed albums and performed around the world. With Q-BAM songs licensed to the likes of Sex and the City, BMW, Spike Lee’s The 25th Hour, and the video game Test Drive 6, Michael fortuitously learned the ins-and-outs of music licensing. He used this knowledge to raise the licensing profile of Eighth Dimension Records, an influential label on the US electronic music scene that Michael co-founded in 1994. In 2011, Eighth Dimension transformed into 8DSync, allowing Michael to capitalize on his taste-making prowess, licensing expertise, and access to a distinctive and inspiring music catalog. He continues to expand his roles in music publishing, content licensing, and industry consultancy. Michael also writes about music’s place in the 21st century on his thought-provoking blog: www.8sided.blog For questions or information about Michael’s workshops, contact Michael at www.8sided.blog/about Michael Donaldson on LinkedIn: http://www.linkedin.com/in/mdonaldson8dOther Linkswww.sync-club.comWarner Music Group Signs an Algorithm to a Record Deal https://tinyurl.com/y27e25jx

Liz and Sarah discuss the importance of saving money in Hollywood’s perennially unstable gig economy. Hint: avoid mindless spending. And shop your closet! Then they share a listener question about fertility and the problem/dilemma of waiting to start a family. Have they come to terms with having only children? Liz offers two Hollywood Hacks from entertainment attorney Michael Donaldson’s WGA workshop on negotiating: make the first offer, and negotiate in the other person’s space. Finally, a Netflix celebrity sighting (Gary Oldman) and a near-miss (Brad Pitt)! Rakuten: http://www.rakuten.com Her Money: https://www.hermoney.com/t/podcasts/ Offer Up:https://offerup.com/ Let Go: https://us.letgo.com/en Egg freezing: https://www.mayoclinic.org/tests-procedures/egg-freezing/about/pac-20384556 Michael Donaldson: http://www.donaldsoncallif.com/attorneys/ Gary Oldman: https://www.imdb.com/name/nm0000198/ Brad Pitt: https://www.imdb.com/name/nm0000093/?ref_=fn_al_nm_1 Photo by Fabian Blank on Unsplash

En NotiPod Hoy Según VoxNest, empresa que opera la compañía de alojamiento Spreaker, en el transcurso de dos meses Spotify está superando a Apple en America Latina, España/Europa Central , Asia y en cinco nuevos mercados. Estos son Honduras, Eslovaquia, Hungría, Finlandia e Indonesia. Desde Pacific Content explican que el éxito de un podcast se basa en el compromiso y en la valentía creativa. Amanda Keller, periodista y presentadora de radio, ha asegurado que el podcasting puede enseñar a la gente cómo hacer buena radio, ya que escuchar un podcast largo sin disciplina ayuda a reconocer la radio de calidad. Recientemente una empresa canadiense dio a conocer una nueva Inteligencia Artificial que imita cualquier voz, por lo que es capaz de crear un discurso idéntico al de una persona real. Michael Donaldson que publica un blog sobre música, analiza lo que el considera una exagerada preocupación por la noticia de la muerte de iTunes. TechCrunch asegura que muy pronto conversar con Alexa será muy natural. Desde el portal PR Daily han hablado con algunos podcasters, quienes explican los pasos a dar para ser invitado de un programa. Allan Tépper en Provideo Coalition analiza la app Rode que sirve de puente para la grabación de audio y propone 7 formas de usarla . En pleno siglo XXI todavía hay diferencias entre lo que puede ganar una mujer y un hombre. La industria del podcasting no escapa de ello, por lo que desde Simplecast proponen formas de cambiar eso. Desde el portal The Promp muestran cómo es un día de Michael Barbaro, el presentador del famoso podcast ‘The Daily’ del New York Times, desde que comienza hasta que termina. Podcast recomendado: ‘La vida minimal’ es un podcast en el que se habla sobre cómo vivir ligero en un mundo pesado. Se abordan el minimalismo, pero también temas como creatividad, espiritualidad y bienestar. Es presentado por Pedro Campos. Más detalles y otros episodios y contenidos sobre Podcasting en ViaPodcast.FM

MICHAEL DONALDSON aka Q-BURNS ABSTRACT MESSAGE hangs out. he's got a lot to say. you should definitely listen. topics include but are not limited to: new records, new music & the music business. drinking beer with the buzzcocks. kurt vonnegut & transformers. do nice guys get in fights? south by southwest, paper, plastic or bring […]

The Fix has been cancelled! It’s not unexpected, but it still sucks. Liz and Sarah share what Season 2 would have been and how they’re moving on! Then they discuss all things negotiation with Michael Donaldson, renowned entertainment attorney and author of Fearless Negotiating: The Wish, Want, Walk Method to Negotiating Agreements That Work. Michael’s advice is crucial for everyone— but is particularly useful to Hollywood writers who have recently fired their agents. Finally, Liz and Sarah reveal a career-building Hollywood Hack: keep a Meeting Master List! The Fix: https://www.imdb.com/title/tt7942774/Michael C. Donaldson: http://www.donaldsoncallif.com/attorneys/Michael C. Donaldson’s Twitter: https://mobile.twitter.com/copyrightguideNegotiating for Dummies: https://www.amazon.com/Negotiating-Dummies-Donaldson/dp/0470045221 Fearless Negotiating: The Wish, Want, Walk Method to Reaching Solutions That Work: https://www.goodreads.com/book/show/331758.Fearless_Negotiating If you want to watch the PBS pledge show Liz recorded with her sister Gretchen, click here to check your local listings for show times. Many stations start airing it on June 1st. 

That was then… The benefits of doing the podcast are many but getting to meet so many cool people is the tops. Michael Donaldson is no exception. Whether learning about the current music scene or trading war stories from back in my days in the biz I could have gone on for hours. We tried to narrow it down to an hour but that was still not enough. It looks like Michael has a lot more is store for us so watch for follow up episodes as we work towards helping to expose more of what seems to be a much more vibrant music scene than I was to believe. Michael is not only an acclaimed artist, Q-Burns Abstract Message, label owner, 8D Industries, music publisher, 8D sync but also currently continues consult artists looking to make their way in the industry. Who better to advise than one who has been through the chaos? A lot has changed since the days I have worked and marketing artists and music. It was great to hear about all that is happening here in the Orlando scene. …This is Now One last thing before you go, long time denizens of the Orlando scene are no doubt familiar with the club nite Phat and Jazzy which Michael helped get off the ground. They will be celebrating their 25th anniversary May 11th at the Iron Cow in the Milk District and Michael himself will be spinning records and looking to connect. Be sure to say hello and thank him for helping to keep the scene alive. Rob CobleWhile your in the mood for some new music be sure to check out our Producer Carlos’ web site and show him some love. 

In episode #18 of the New Zealand Brewer Podcast, beer writer, Michael Donaldson, joins us to discuss the history of beer in New Zealand. We’ll ...

From social media, to videos, to 24-hour cable news, media has a significant influence over how we perceive the modern world. With such a pervasive influence, it is subject to wide criticism and commentary. In the 9th episode of Copy This, host Kirby Ferguson talks with Jack Lerner, Clinical Professor of Law at the University of California-Irvine about the right and wrong way to legally criticize media and the concept of parody. Fair use comes in all forms including using YouTube to catch highlights of your favorite sports teams, or watching late night critical commentary by John Oliver or Samantha Bee. TV shows like The Simpsons and Family Guy which routinely satirize literature, pop culture and music for humorous effects, are possible because of fair use. In the podcast, Lerner explains that criticism and commentary are by far the most common forms of fair use and helps listeners better understand the often misunderstood subset of fair use, parody. Lerner defines parody as “imitating works in a comedic way” and cites a Supreme Court case where rap group 2 Live Crew was sued for releasing a parody song of Roy Orbison’s “Oh Pretty Woman” as an event that changed copyright law forever by ruling in favor of the parody. He also points out that there is no one-size-fits-all approach to fair use, and that each case is treated independently from the next, referencing Refuge from the Storm by Michael Donaldson as an important resource.

Fair Use principals are clearly outlined with attorneys Michael Donaldson and Lisa Callif in their book Clearance & Copyright 4th edition. Donaldson & Callif give examples of fair use. For information about Carole Dean and From the Heart Productions please visit www.FromtheHeartProductions.com.

Fair Use principals are clearly outlined with attorneys Michael Donaldson and Lisa Callif in their book Clearance & Copyright 4th edition. Donaldson & Callif give examples of fair use. For information about Carole Dean and From the Heart Productions please visit www.FromtheHeartProductions.com

I talked to the top experts on fair use Michael Donaldson and Lisa Calif, partners at the law firm Donaldson and Calif, and authors of Clearance & Copyright, 4th Edition: Everything You Need to Know for Film and Television. Links Buy the book http://amzn.to/1Io09Sb Donaldson + Callif law firm http://bit.ly/1F450Fl Watch the epic Power Rangers fan film http://bit.ly/18hBrYa Songs from episode: Ghost by Poter Elvinger http://bit.ly/1Io0HaD Soch by Prabh Jazz http://bit.ly/1NKdEzc

Fair Use principals are clearly outlined with attorneys Michael Donaldson and Lisa Callif in their book Clearance & Copyright 4th edition. Donaldson & Callif give examples of fair use. For information about Carole Dean and From the Heart Productions please visit www.FromtheHeartProductions.com

This will be a show if you have any concerns with entertainment Law and copyright questions! Mr.Donaldson has agreed to take calls and help answer anyone's questions! Mr.Donaldson is a Published Author as well as a Active Speaker on Entertainment law , Copyright issues and other fine details . Michael Donaldson's Los Angeles-based entertainment law practice focuses on all aspects of independent film and theater. He has been successful in negotiating contracts for actors, producers and directors. His book entitled Clearance and Copyright: Everything the Independent Filmmaker Needs to Know is used as a textbook in over 40 colleges and universities. Michael Donaldson is completing his latest book and DVD titled Wish Want Walk – A Failsafe Guide to Fearless Negotiating. Michael Donaldson is a frequent Arbitrator with the Independent Film & Television Alliance (IFTA), organizer of the American Film Market. He is also an expert witness in litigation involving copyright and general entertainment cases. Michael C. Donaldson is an entertainment attorney who has been fighting for independent filmmakers for over thirty years. In addition to representing writers, producers and directors, he serves as General Counsel to Film Independent (home of the Independent Spirit Awards and the Los Angeles Film Festival) and the Writers Guild Foundation. Michael is the go-to attorney for fair use and other clearance-related issues.