James Damiano’s cow wife megapoasts self-serving exclamations that Dylan stole Damiano’s music. A quick perusal of the record in the case shows the contrary is true. The record demonstrates that Damiano was a no-talent bum with a scheme to bring unwarranted claims against music legend Bob Dylan in an attempted extortion.

Some choice lines from the court decisions are as follows:

“[D]efendants show, through the deposition testimony of plaintiff, that the purported “works” set forth in the complaint were actually created for the first time in the complaint and not registered with the copyright office as alleged.” Damiano v. Sony Music Entertainment, Inc. 975 F.Supp. 623, 625 (D.N.J.,1996).

“[T]he court suspects that any similarity between these two songs is the result of an appropriation of Dylan's work by Damiano, not the other way around.” Damiano v. Sony Music Entertainment, Inc. 975 F.Supp. 623, 626 (D.N.J.,1996)

“Apparently, for the sake of creating a side-by-side comparison of plaintiff's lines with Dylan's lines, plaintiff and/or his attorney pieced together lines from many different untitled verses composed by Damiano to create a total of five single “works.” ( Id. at 192–3, 196). The allegedly infringed lyrics are titled and organized in such a way that misleads the reader into thinking that a single piece by Damiano contains several words and phrases in common with those in a single piece by Dylan. The complaint also contains altered versions of some of Dylan's lyrics. ( Id. at 175, 199). Some of the words in Dylan's songs are rearranged or left out, again giving an impression of similarity that otherwise does not exist.” Damiano v. Sony Music Entertainment, Inc. 975 F.Supp. 623, 626 (D.N.J.,1996)

“[Damiano] argues that coupling the word “stumble” with the word “lips” creates a sufficiently original arrangement of otherwise trite words. Likewise, plaintiff argues that an arrangement combining the cliche “truer words have not been spoken” with the word “broken” is creative enough to be worthy of protection. Thus, plaintiff concludes, Bob Dylan cannot subsequently use the same pairs of words or phrases together in a lyric, even if separated by many intervening lines and ideas in some instances, without infringing plaintiff's original work. . . . The law of copyright does not support the logical extension of plaintiff's theory. In effect, he asks us to grant him a monopoly over the use of common combinations of words such as “bell” and “hell,” “run” and “hide,” or “mind” and “behind” merely because they are found together in a single song—regardless of context or placement within the song.” Damiano v. Sony Music Entertainment, Inc. 975 F.Supp. 623, 629 (D.N.J.,1996)

“To the ear of this court, there is no substantial similarity in the structure, instrumentation or melody of the two songs. These songs “speak” for themselves and no reasonable factfinder could find substantial similarity.” Damiano v. Sony Music Entertainment, Inc. 975 F.Supp. 623, 631 (D.N.J.,1996)

“At an October 29, 1999 hearing, after plaintiff published by use of the Internet confidential discovery materials protected under Judge Rosen's August, 1996 Order, this Court found plaintiff to be in contempt of the protective Orders and directed him to immediately cease all such dissemination. ( See Order filed October 29, 1999.) At the hearing on October 29, 1999, Mr. Damiano apologized to defendants and to the Court for his contempt of the confidentiality orders,FN3 and asked for the Court to be lenient, indicating, “It makes no sense. I want to come on-off-I don't want to be on the internet. It's senseless, it's senseless and I don't want to hurt-I just want to forget the whole thing. I give you my word I won't even put up the story. I just want to end it, I really do,” by which he meant discontinuing his Internet war against Sony and Dylan. ( See Tr. Oct. 29, 1999 at 26:19-24.)” Damiano v. Sony Music Entertainment, Inc. 2000 WL 1689081, 2 (D.N.J.) (D.N.J.,2000)

The Third Circuit dismissed Damiano’s appeal. Damiano v. Sony Music Entertainment, Inc., 166 F.3d 1204 (3d Cir. 1998).

(http://www.autoadmit.com/thread.php?thread_id=1999180&forum_id=2#21128426)

http://www.jamesdamiano.yolasite.com

(http://www.autoadmit.com/thread.php?thread_id=1999180&forum_id=2#21136645)

You talk like such an idiot no one takes you serious

See Anonymous = Nothing just what you are "A NOTHING" probably a frustrated musician who never got anywhere

(http://www.autoadmit.com/thread.php?thread_id=1999180&forum_id=2#24544306)

Bob Dylan has a message for critics who think he plagiarized the works of others in some of the songs: You're all a bunch of "wussies and pussies."

In an interview with Rolling Stone hitting newsstands on Friday, the legendary troubadour not only stood by his longtime habit of liberally quoting the words of literary giants and other writers in his lyrics, but also went on the offensive.

"Oh, yeah, in folk and jazz, quotation is a rich and enriching tradition. That certainly is true. It's true for everybody, but me. There are different rules for me," the 71-year-old Dylan noted in an excerpt released online.

Bob Dylan:

Hitting back at folks who took issue with his lifting the words of Japanese author Junichi Saga and Civil War poet Henry Timrod in his 2001 and 2006 albums Love and Theft and Modern Times respectively without citing them as a sources, Dylan brushed off the complaints.

"Wussies and pussies complain about that stuff," said the singer-songwriter. "It's an old thing—it's part of the tradition. It goes way back. These are the same people that tried to pin the name Judas on me. Judas, the most hated name in human history!"

Added Dylan defensively: "If you think you've been called a bad name, try to work your way out from under that…and for what? For playing an electric guitar? As if that is in some kind of way equitable to betraying our Lord and delivering him up to be crucified. All those evil motherf--kers can rot in hell."

"I'm working within my art form. It's that simple. I work within the rules and limitations of it," lectured Dylan. "There are authoritarian figures that can explain that kind of art form better to you than I can. It's called songwriting. It has to do with melody and rhythm, and then after that, anything goes. You make everything yours. We all do it."

However there is so much more Dylan does not cite or even hint about.

http://bobdylanplagiarisms.yolasite.com/

(http://www.autoadmit.com/thread.php?thread_id=1999180&forum_id=2#24549263)

If one reviews the record below they can plainly see that Bob Dylan credited his name to Masters of War

Dylan knew he did not write the melody line yet he took credit for it. Point being is that had he written

the words without the music it would have just been a poem. Dylan has been misleading his fans since

he released Blowin In The Wind which brings us to our next Bob Dylan plagiarism

Jack Landron

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Jack Landron

Birth name Juan Candido Washington y Landrón

Also known as Jackie Washington

Born June 2, 1938 (age 74)

Puerto Rico

Origin Puerto Rico

Occupations Folksinger, Songwriter, Actor

Jack Landron is an Afro-Puerto Rican folksinger, songwriter, and actor. Because he had gone by "Jackie Washington" earlier in his career, he is often confused with the Canadian Jackie Washington, (1919–2009), who was a blues and jazz performer (nor is either to be confused with the fictional, female Jackie Washington played by Jenifer Lewis in the 1999 mockumentary TV-film Jackie's Back).

Contents

1 Jackie Washington

2 Actor

3 Further reading

4 References

5 External links

Jackie Washington

Born Juan Candido Washington y Landrón on June 2, 1938, in Puerto Rico, he grew up in the Boston, Massachusetts neighborhood of Roxbury. He studied at Emerson College as a Theater Arts major. As part of the Cambridge/Boston folk music scene in the early and mid-1960s, he released four albums on Vanguard—Jackie Washington (1962), Jackie Washington/2 (1963), Jackie Washington at Club 47 (1965), and Morning Song (1967); this last LP consisted entirely of original compositions and was his first with a band. [None of his albums has been released on CD but individual songs have appeared on anthologies. His sole single, for instance, "Why Won't They Let Me Be?" (1966), is included in Northern Soul's Classiest Rarities 2 (Kent, 2005).] The live album, Jackie Washington at Club 47, featuring a cover collage by Eric Von Schmidt, is most representative of his act as he had a lot to say between numbers—not only setting up the contexts of the songs but also relating personal anecdotes; indeed, he could easily have worked as a stand-up comedian, and he fully appreciated the early records of Bill Cosby. Vanguard, however, tried to groom him as a male counterpart to Joan Baez.

Coming home in the wee hours of 3 Dec 1962 Washington was set upon by the Boston Police resulting in a cause célèbre exposing racist police brutality.[1] [2] In the summer of 1964 he participated in Freedom Schools conducted in the South, and three of his performances from his live album are included in the double-CD anthology Freedom Is A Constant Struggle (Songs of the Mississippi Civil Rights Movement) (1994). At one point he was Dr. Martin Luther King's personal assistant in Mississippi.[2] [3] "Esta Navidad" from his first album is included in the 1995 Vanguard compilation A Folksinger's Christmas.

His version of the traditional English nonsense song "Nottamun Town" Nottamun town was the tune and arrangement used by Bob Dylan as the basis for "Masters of War", [4]. [Clinton Heylin in Revolution In the Air (2009) rejects this idea as "patently absurd" (p. 116), but Jackie Washington, including "Nottamun Town", was released in December 1962, and The Freewheelin' Bob Dylan, with "Masters of War", was released 27 May 1963; Dylan loved Washington's rendition, repeatedly requested he perform it, and asked Vanguard Records to give him a copy of Washington's debut album; Jean Ritchie, whose version Heylin and others give as Dylan's source, sings the song in a minor key but plays the accompaniment in major chords. Washington reset the melody to minor chords, and in the process changed it somewhat—Dylan liked this version and used it as the model for "Masters of War."] Washington's role in the song's transmission is acknowledged in Bob Dylan by Greil Marcus: Writings 1968–2010 (Public Affairs, 2010, p. 410). Washington taught Joan Baez "There But For Fortune" by Phil Ochs, which provided Baez with her first appearance on the singles chart. (You can tell she learned it from him because he had made a lyric change; where Ochs had written "whose face is growing pale", Jackie, being black, had substituted "whose life has grown stale"—which is how Baez sings it.)

Originally managed by Manny Greenhill, Joan Baez's manager, Washington later did his own bookings.

On 25 July 1968 Jackie was master of ceremonies for a political rally supporting anti-Vietnam War presidential candidate Eugene McCarthy held at the Red Sox' Fenway Park.

As the first performer to headline the Caffè Lena in Saratoga Springs, New York, in 1960, Jackie was invited back 22 January 2010 to perform as part of an ongoing celebration of the club's 5oth anniversary, with Bill Staines as the opening act.[3][4]

(http://www.autoadmit.com/thread.php?thread_id=1999180&forum_id=2#24549343)