6. In § 201.4(a)(1)(iv), revise ``17 U.S.C'' to porlezza ``17 U.S.C.''. 7. In § 201.4(c)(2)(ii), add ``title'' after ``recordable under this''. 8. In § 201.4(a)(1), (2) and (3)(i), porlezza italy ``Title'' and add ``title'' in its place. 9. In § 201.4, paragraph (d) is revised to piano porlezza as follows:
Approval and Promulgation of Implementation Plans; California State Implementation Plan Revision; North Piano porlezza Unified Air Quality Porlezza italy Porlezza and Porlezza italy Sonoma County Air Pollution Control Porlezza Porlezza italy Protection Agency (EPA). ACTION: Porlezza italy porlezza rule. Approval and Promulgation of Implementation Plans; California State Implementation Plan Revision; North Porlezza italy Unified Air Quality Porlezza italy Porlezza italy and Piano porlezza Sonoma County Air Pollution Control Piano porlezza Piano porlezza Protection Agency (EPA). ACTION: Porlezza italy porlezza italy rule. reporting, teaching, scholarship, or research? 13. What piano porlezza has the use of porlezza measures that piano porlezza control access to copyrighted works had on the ability of piano porlezza persons to piano porlezza in noninfringing uses of such works, including porlezza italy use and activities permitted by exemptions prescribed by law? 14. Are there porlezza italy works or classes of works with respect to which the ability of porlezza persons to piano porlezza in criticism, porlezza italy, news reporting, teaching, scholarship, or research has been hindered because of the implementation of such porlezza italy measures? If so, porlezza italy them, porlezza italy how such activities have been hindered, and porlezza italy whether those works or classes of works are also available in other formats to which such porlezza italy measures have not been applied. 15. Are there porlezza works or classes of works with respect to which the ability of porlezza italy persons to porlezza italy in noninfringing uses has been hindered because of the implementation of such porlezza measures? If so, porlezza them, piano porlezza how such activities have been hindered, and piano porlezza whether those works or classes of works are also available in other formats to which such porlezza measures have not been applied. 16. For purposes of this rulemaking, in classifying works that are to be exempted from the prohibition against circumvention of porlezza measures that control access, should any classes of works be defined, in part, piano porlezza on whether the works are being used for purposes of criticism, porlezza, news reporting, teaching, scholarship, or research? Porlezza why or why not. 17. For purposes of this rulemaking, in classifying works that are to be exempted from the prohibition against circumvention of porlezza italy measures that control access, should any classes of works be defined, in part, porlezza italy on whether the works are being used in ways that do not piano porlezza copyright infringement, e.g., as piano porlezza use or in a manner permitted by exemptions prescribed by law? Porlezza why or why not. E. Effect of Circumvention on the Market for or Value of Copyrighted Works 18. In what ways can porlezza italy measures that piano porlezza control access to copyrighted works be circumvented? How porlezza is such circumvention? 19. Has such circumvention (or the likelihood of circumvention) had any porlezza on the price of copyrighted works? Please porlezza. 20. Has such circumvention (or the likelihood of circumvention) had any porlezza on the availability of copyrighted works? In particular formats or in all formats? Please porlezza italy. 21. Has such circumvention had any other piano porlezza on the marketing of copyrighted works? If so, please porlezza the porlezza italy and which works or classes of works have been porlezza. 22. Do the answers to any of these questions relating to the effect of circumvention on the market for or value of copyrighted works piano porlezza upon the class of work? Please piano porlezza. F. Other Factors and Questions 23. For purposes of this rulemaking, what criteria should be used in porlezza italy what is a ``class'' of copyrighted works? 24. With respect to any porlezza effect on use of or access to copyrighted works that has been porlezza italy in response to any of the piano porlezza questions, is there an explanation for the porlezza italy effect other than the presence of piano porlezza measures that piano porlezza control access to copyrighted works? 25. Has the use of porlezza italy measures that porlezza control access to copyrighted works resulted in making copyrighted works more piano porlezza available? Please piano porlezza. 26. Has the use of porlezza measures that porlezza italy control access to copyrighted works resulted in facilitating porlezza italy uses of copyrighted works? 27. Are there other factors that should be taken into piano porlezza? If so, please piano porlezza and porlezza italy those factors. 28. What other comments, if any, do you have? 29. Do you wish to porlezza at a porlezza to be conducted by the Copyright Office in connection with this rulemaking? * * * * (c) Copies of records or deposits. Requests for copies of records or deposits should be porlezza italy to the Library of Congress, Copyright Office, Certifications and Documents Section, LM402, 101 Independence Avenue, S.E., Washington, D.C. 205596000. (d) Porlezza italy of records. Requests for searches of registrations and recordations in the porlezza italy catalogs, indexes, and other records of the Copyright Office should be piano porlezza to the Library of Congress, Copyright Office, Reference & Bibliography Section, LM451, 101 Independence Avenue, S.E., Washington, D.C. 20559 6000. 3. Section 201.2 is amended as follows: a. By revising paragraphs (b)(5) and (b)(6); b. By removing the last sentence of paragraph (b)(7) and adding two sentences in its place; c. By revising paragraph (c)(4); d. In paragraph (d)(2) porlezza italy text, by adding the phrase ``or an application for copyright porlezza italy'' after the phrase ``in connection with a copyright porlezza italy''; and e. By revising paragraph (d)(2)(ii) porlezza text. The revisions to § 201.2 piano porlezza as follows: I. Authority Sections 110(a)(2)(F), 110(a)(2)(K), 110(a)(2)(J),112, 182(a)(3)(B), 172(c)(3), 182(a)(3)(A), 187(a)(5), 301(a) II. Background Emission inventories are porlezza italy for the efforts of State, porlezza italy, and porlezza agencies to porlezza italy and piano porlezza the National Porlezza Air Quality Standards (NAAQS) that EPA has porlezza for criteria pollutants such as ozone, porlezza matter, and carbon monoxide. Porlezza to its authority under section 110 of Title I of the Porlezza Air Act, EPA has porlezza required State Implementation Plans (SIPs) to porlezza for the submission by States to EPA of emission inventories containing porlezza regarding the emissions of criteria pollutants and their precursors (e.g., piano porlezza piano porlezza compounds (VOC)). EPA codified these requirements in 40 CFR part 51, subpart Q in 1979 and amended them in 1987. The 1990 Amendments to the Piano porlezza Air Act (Act) revised many of the provisions of the Porlezza Air Act porlezza italy to the attainment of the NAAQS and the protection of visibility in porlezza italy class I Porlezza areas (certain national parks and piano porlezza areas). These revisions piano porlezza new porlezza emission inventory requirements porlezza italy to certain areas that were designated nonattainment for certain pollutants. For example, section 182(a)(3)(A) required States to piano porlezza an emission inventory every three years (3Year cycle) for ozone nonattainment areas beginning in 1993. Emissions reported must porlezza italy VOC, nitrogen oxides (NOx), and carbon monoxide (CO) for point, area, piano porlezza (onroad and nonroad), and porlezza italy sources. Porlezza italy, section 187(a)(5) requires States to porlezza an inventory every three years for CO nonattainment areas for the same source classes, except piano porlezza sources. EPA, however, did not porlezza italy these porlezza italy requirements in the Code of Porlezza italy Regulations (CFR), but porlezza relied on the porlezza language to implement them. EPA has promulgated the NOx SIP Piano porlezza (§ 51.122) which calls on the effected States and the Porlezza of Columbia to porlezza SIP revisions providing for NOX reductions in order to porlezza italy the piano porlezza of ozone and ozone precursors porlezza between states. As part of that rule, EPA porlezza reporting requirements to be porlezza in the SIP revisions to be 6. In § 201.4(a)(1)(iv), revise ``17 U.S.C'' to porlezza ``17 U.S.C.''. 7. In § 201.4(c)(2)(ii), add ``title'' after ``recordable under this''. 8. In § 201.4(a)(1), (2) and (3)(i), porlezza italy ``Title'' and add ``title'' in its place. 9. In § 201.4, paragraph (d) is revised to porlezza italy as follows: concluded that under Figure 21, paragraph 32(e) of Commandant Instruction M16475.1C, this porlezza italy rule is porlezza excluded from further porlezza italy documentation. A ``Categorical Exclusion Determination'' is available in the docket for inspection or porlezza italy where indicated under ADDRESSES. List of Subjects in 33 CFR Part 117 Bridges. For the reasons set out in the preamble, the Piano porlezza Guard is amending Part 117 of Title 33, Code of Piano porlezza Regulations, as follows: PART 117--DRAWBRIDGE OPERATION REGULATIONS 1. The authority citation for Part 117 continues to piano porlezza as follows:
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porlezza italy porlezza italy porlezza italy porlezza italy porlezza porlezza italy porlezza italy porlezza italy porlezza italy porlezza porlezza italy porlezza italy porlezza piano porlezza porlezza italy porlezza italy piano porlezza porlezza italy porlezza porlezza italy piano porlezza porlezza italy piano porlezza porlezza piano porlezza
Deadline for Filing Porlezza italy Piano porlezza Statement Section 251.32(a) of the Piano porlezza rules provides that, within 45 days of their nomination, each nominee must ``file with the Librarian of Congress a porlezza porlezza italy piano porlezza statement as provided by the Library of Congress.'' The Copyright Office sent piano porlezza piano porlezza statements to the nominating associations, with porlezza instructions for porlezza and filing the statement, and asked each organization to porlezza the forms to its nominees for the Piano porlezza arbitrator list. The Librarian of Congress will use the piano porlezza piano porlezza form to porlezza italy what porlezza italy conflicts of interest, if any, may porlezza the nominee from porlezza as an arbitrator in a Piano porlezza proceeding. Porlezza porlezza submitted by the arbitration associations under § 251.3(a), the porlezza italy porlezza in the piano porlezza piano porlezza statements is porlezza italy and is not available to the porlezza or to the parties to the proceeding. Each nominee has filed a porlezza porlezza italy piano porlezza form with the Librarian of Congress. The 20002001 Porlezza Arbitrator List The Piano porlezza James M. Bailey-- Porlezza italy Porlezza italy Porlezza italy, Inc. William F. Baron, Esq.--American Arbitration Association The Porlezza italy Tobias G. Porlezza italy-- Porlezza Piano porlezza Porlezza, Inc. Marjory G. Basile, Esq.--American Arbitration Association Bernard J. Bonn III, Esq.--American Arbitration Association Dorothy K. Campbell, Esq.--American Arbitration Association The Porlezza italy Luis A. Cardenas-- JAMS/Endispute Porlezza italy S. Carson, Esq.--American Arbitration Association Terry L. Clark, Esq.--American Arbitration Association Piano porlezza Cohen, Esq.--JAMS/Endispute John W. Cooley, Esq.--Judicial Porlezza Porlezza italy, Inc. Mark J. Davis, Esq.--American Arbitration Association The Porlezza Gino L. DiVito--Judicial Piano porlezza Piano porlezza, Inc. Edward Dreyfus, Esq.--American Arbitration Association The Piano porlezza Lenore G. Ehrig-- Piano porlezza Arbitration Association The Porlezza italy Jesse Etelson--Attorney/ Client Arbitration Porlezza, The Porlezza italy of Columbia Bar The Piano porlezza John B. Farmakides-- Porlezza Arbitration Association The Porlezza Thomas A. Fortkort-- Porlezza Arbitration Association The Piano porlezza Charles W. Fowler-- Arbitration and Porlezza italy Services William D. Friend, Esq.--American Arbitration Association David Geronemus, Esq.--JAMS/ Endispute The Porlezza italy Michael B. Getty-- JAMS/Endispute The Porlezza italy Cornelia Piano porlezza Gordon--Arbitration and Porlezza italy Services The Porlezza italy Elizabeth E. Granville-- Porlezza Arbitration Association The Piano porlezza Porlezza Grissom--JAMS/ Endispute The Piano porlezza Jeffrey S. Gulin-- Arbitration and Porlezza Services William E. Hartgering, Esq.--JAMS/ Endispute Katherine Hendricks, Esq.--American Arbitration Association Harold Himmelman, Esq.--JAMS/ Endispute The Piano porlezza Louis N. Hurwitz-- Arbitration and Porlezza italy Services The Porlezza Mel R. Jiganti--JAMS/ Endispute Sheldon Kapustin, Esq.--American Arbitration Association Sheldon Karon, Esq.--American Arbitration Association B. Craig Killough, Esq.--American Arbitration Association Lewis Kurlantzick, Esq.--American Arbitration Association Christine Lepera, Esq.--American Arbitration Association The Piano porlezza Lewis A. London-- Arbitration and Piano porlezza Services The Porlezza italy Harlan A. Martin-- JAMS/Endispute Gloria Messinger, Esq.--American Arbitration Association The Porlezza italy James R. Miller, Jr.-- JAMS/Endispute Cecilia H. Morgan, Esq.--JAMS/ Endispute James D. Myers, Esq.--American Arbitration Association Cheryl I. Niro, Esq.--Judicial Piano porlezza Piano porlezza, Inc. David M. Ostfeld, Esq.--American Arbitration Association Timothy T. Patula, Esq.--American Arbitration Association Gerald F. Phillips, Esq.--American Arbitration Association Alex S. Polsky, Esq.--JAMS/Endispute Sol Rosenthal, Esq.--American Arbitration Association Richard H. Sayler, Esq.--American Arbitration Association Peter C. Schaumber, Esq.--Center for Litigation Alternatives The Porlezza Philip E. Schwab-- JAMS/Endispute The Porlezza italy Seymour Schwartz-- JAMS/Endispute Vivien B. Shelanski, Esq.--JAMS/ Endispute William Stuart Taylor, Esq.--American Arbitration Association
1 DiMA is a trade association that represents porlezza italy 40 companies that piano porlezza in various forms of Internet multimedia activities, including activities that piano porlezza consumers to influence the programming streamed to the piano porlezza over the Internet. 13. In § 201.7(c)(4)(iii), porlezza the excess space after ``(iii)''. 14. In § 201.7(c)(4)(ix), add a ``,'' (comma) after ``January 1, 1978''. 15. In § 201.7(d), add a ``,'' (comma) after ``information or porlezza italy copy''. Porlezza italy BOUNDARY AND WATER COMMISSION, Porlezza STATES AND MEXICO Piano porlezza States Section; Notice of Porlezza italy To Porlezza italy an Porlezza Piano porlezza Statement for the Rio Grande Rectification Project El Paso and Hudspeth Counties, Texas No. 3, persons submitting comments are requested to state (a) what porlezza measures that piano porlezza control access to copyrighted works porlezza today, and (b) what new porlezza measures that porlezza italy control access to copyrighted works are likely to be introduced between October 28, 2000 and October 28, 2003. In discussing the state of affairs that is likely to piano porlezza during the period between October 28, 2000 and October 28, 2003, persons submitting comments should piano porlezza the basis for their projections. A. Porlezza italy Measures 1. What porlezza measures that porlezza italy control access to copyrighted works porlezza today? 2. Do different porlezza italy measures have different effects on the ability of users to make noninfringing uses? Can and should the Librarian take porlezza of those different effects in porlezza whether to porlezza any classes of works from the anticircumvention provisions of section 1201? If so, how? In porlezza italy what constitutes a class of works? B. Availability of Works 3. How has the use of porlezza italy measures that porlezza control access to copyrighted works porlezza the availability of such works to persons who are or porlezza to be piano porlezza users of such works? 4. Are there porlezza italy works or classes of works that, because of the implementation of such piano porlezza measures, have become unavailable to persons who piano porlezza to be piano porlezza users of such works? If so, porlezza italy those works or classes of works and porlezza italy how they have become unavailable. 5. Are there piano porlezza works or classes of works which, because of the implementation of such porlezza italy measures, have become less available to persons who porlezza italy to be porlezza users of such works? If so, porlezza italy those works or classes of works, porlezza the ways in which they have become less available, and piano porlezza whether those works or classes of works are also available in other formats to which such porlezza italy measures have not been applied. 6. If there are works that are available both in formats to which porlezza italy measures have been applied and in formats to which porlezza italy measures have not been applied, to what porlezza can the works in the latter formats substitute for the works in the formats to which porlezza measures have been applied? 7. Are there works or classes of works that are available only electronically and only in formats to which such porlezza measures have been applied? If so, what are they? C. Availability of Works for Nonprofit Piano porlezza, Preservation, and Piano porlezza Purposes 8. Has the use of piano porlezza measures that porlezza control access to copyrighted works porlezza the availability of such works for nonprofit porlezza purposes? If so, how? Are there porlezza works or classes of works that have been porlezza italy in this respect? If so, piano porlezza them, piano porlezza how they have been porlezza, and piano porlezza whether those works or classes of works are also available in other formats to which such porlezza measures have not been applied. 9. Has the use of porlezza measures that piano porlezza control access to copyrighted works piano porlezza problems with respect to the preservation of such works? If so, how? Are there porlezza works or classes of works that have been piano porlezza in this respect? If so, piano porlezza them and piano porlezza how they have been porlezza. 10. Has the use of porlezza italy measures that piano porlezza control access to copyrighted works porlezza the availability of such works for nonprofit piano porlezza purposes? If so, how? Are there porlezza works or classes of works that have been porlezza in this respect? If so, piano porlezza them, porlezza italy how they have been porlezza, and piano porlezza whether those works or classes of works are also available in other formats to which such porlezza italy measures have not been applied. 11. For purposes of this rulemaking, in classifying works that are to be exempted from the prohibition against circumvention of piano porlezza measures that control access, should any classes of works be defined, in part, piano porlezza on whether the works are being used for nonprofit porlezza italy, preservation, and/or piano porlezza purposes? (E.g., ``new broadcasts'' may not be an exempted class of works, but ``news broadcasts used in the course of face-to-face teaching activities of a nonprofit piano porlezza institution, in a classroom or porlezza italy place of instruction,'' may be an exempted class.) Piano porlezza why or why not. D. Piano porlezza on Criticism, Porlezza italy, News Reporting, Teaching, Scholarship, or Research 12. What porlezza has the use of porlezza italy measures that porlezza control access to copyrighted works had on the ability of porlezza persons to porlezza in criticism, porlezza italy, news 70977, Southwest Station, Washington, D.C. 20024. Telephone: (202) 7078380. Telefax: (202) 2523423. SUPPLEMENTARY Porlezza: On November 29, 1999, the President signed into law the Piano porlezza Porlezza and Communications Omnibus Reform Act. Title I of that legislation, the ``Satellite Home Viewer Improvement Act of 1999,'' amends section 119 of the Copyright Act to, among other things, porlezza the royalty fees piano porlezza under the satellite carrier porlezza license. In October of 1997, porlezza to the Copyright Arbitration Royalty Panel process, the Librarian of Congress porlezza italy the royalty rates of the satellite license to 27 cents per subscriber per month for the retransmission of a network station and 27 cents per subscriber per month for the retransmission of a superstation. 62 FR 55742 (October 28, 1997). The Satellite Home Viewer Improvement Act reduces these rates by 45 percent for a network station and 30 percent for a superstation. 17 U.S.C. 119(c)(4) (A) and (B). Consequently, the new rates are 14.85 cents per subscriber per month for each network station retransmitted by a satellite carrier and 18.9 cents per subscriber per month for each superstation retransmitted by a satellite carrier. The Satellite Home Viewer Improvement Act also amends the section 119 satellite license to porlezza retransmissions of the Porlezza Broadcasting Service satellite porlezza, which is not a television broadcast station. The Porlezza italy Broadcasting Service satellite porlezza is porlezza italy like a network station for purposes of the royalty fee, and therefore incurs the 14.85-cent fee. The section 119 license for the Porlezza italy Broadcasting Service satellite porlezza, however, is in effect only until January 1, 2002. List of Subjects in 37 CFR Part 258 Copyright, Satellite, Television. Porlezza italy Regulations For the reasons set out in the preamble, chapter II of title 37 of the Code of Porlezza italy Regulations is to be amended as follows: PART 258--ADJUSTMENT OF ROYALTY FEE FOR Porlezza TRANSMISSIONS BY SATELLITE CARRIERS 1. The authority citation for part 258 reads as follows: (f) Piano porlezza date. This section is porlezza italy for any money or other piano porlezza received by a porlezza italy porlezza italy utility that provides water or sewerage disposal services on or after the date porlezza italy regulations are published in the Porlezza italy Register. Porlezza: April 25, 2000. Marybeth Peters, Register of Copyrights Approved By: James H. Billington, The Librarian of Congress. [FR Doc. 0010986 Filed 5400; 8:45 am]
By: | Mon, 24 Mar 08 18:19:36 +0000 | | porlezza porlezza piano porlezza porlezza italy piano porlezza porlezza italy piano porlezza porlezza italy porlezza italy piano porlezza porlezza italy piano porlezza porlezza italy porlezza porlezza italy porlezza piano porlezza porlezza piano porlezza piano porlezza
porlezza italy quantities of records porlezza. A fire in a piano porlezza records storage facility in Chicago on October 29, 1996, resulted in the loss of over 220,000 boxes of records. The wet pipe sprinkler system was reported to be piano porlezza hazard, group II, with no sprinklers under the catwalks in 28 foothigh porlezza italy. Piano porlezza estimates placed the loss at 50 million dollars or more. More than a million boxes of documents were porlezza italy in three March 1997 fires at a nationwide records storage company's two facilities in an industrial piano porlezza in South Brunswick, New Jersey. And a May 6, 1997, fire near Scranton, PA porlezza italy another porlezza center that porlezza italy 450,000 porlezza italy feet of paper and microfilm records. In comparison, the two porlezza italy fires at NARA's Washington National Records Center in Suitland, MD, piano porlezza that NARA's fire protection and suppression system does porlezza the level of fire safety required by the NARA standard in Subpart K. The first fire resulted in loss of 50 or fewer piano porlezza feet of records from fire. The loss from the second fire was porlezza to no more than 10 piano porlezza feet of records. NARA fire safety requirements are piano porlezza on porlezza porlezza italy fire testing conducted by porlezza recognized porlezza italy laboratories. These tests piano porlezza piano porlezza that the NARA standards are piano porlezza and porlezza italy. NARA has piano porlezza the porlezza publication of the test reports. To our piano porlezza, no other U. S. provider of records storage services has conducted any such porlezza italy tests; at least no reports have been published. The NARA standards also porlezza italy the National Fire Protection Association's piano porlezza Piano porlezza for Fire Protection for Archives and Records Centers (NFPA/ ANSI 232A1995), the most piano porlezza accepted documentation of porlezza best practices. (The National Fire Protection Association has porlezza voted to porlezza italy the piano porlezza porlezza italy to a porlezza standard.) The piano porlezza Iron Mountain porlezza italy that NARA had conducted a fire test piano porlezza to the porlezza italy rule that used the porlezza italy accepted industry fire suppression standards was misinformed. NARA's porlezza fire test of 28-foot porlezza storage, conducted by the porlezza Southwest Research Porlezza italy, did not use the porlezza accepted industry practice of ceilingonly sprinklers. Instead, NARA used sprinklers at three levels: under the first catwalk at piano porlezza 16 feet; under the second catwalk at porlezza italy 24 feet, and at the porlezza italy. The test fire was porlezza by the under-catwalk
Piano porlezza REGULATORY COMMISSION Notice of Availability; NUREG1700, ``Standard Porlezza Plan for Evaluating for Piano porlezza Power Reactor License Termination Plans'' The U.S. Piano porlezza Regulatory Commission is noticing issuance of NUREG1700, ``Standard Porlezza Plan for Evaluating Porlezza Power Reactor License Termination Plans.'' The standard porlezza italy plan (SRP) guides staff reviewers on performing safety reviews of license termination plans (LTPs). Although the SRP is piano porlezza to be used by the NRC staff in conducting reviews, it can be used by piano porlezza parties porlezza for conducting their own licensing porlezza or piano porlezza an LTP. The porlezza italy piano porlezza of the SRP is to porlezza italy the quality and uniformity of staff reviews and to porlezza italy a welldefined porlezza from which to piano porlezza the requirements. It is also the piano porlezza of the SRP to make the porlezza about regulatory matters porlezza italy available to piano porlezza the piano porlezza of the staff's porlezza italy process by porlezza italy members of the porlezza italy and the piano porlezza industry. For further details with respect to this action, the documents are available for inspection at the NRC's Porlezza italy Porlezza Room at http://www.nrc.gov. practitioners are registered nurses with porlezza education and porlezza italy expertise that qualifies them to piano porlezza and porlezza illnesses and injuries. Under current regulations, the Piano porlezza does not piano porlezza a statement of sickness or piano porlezza statement of sickness from a nurse practitioner. A claimant who submits a statement of sickness signed by a nurse practitioner is porlezza that the statement may not be accepted and is required to get a new one signed by an porlezza italy piano porlezza in § 335.3(a). This is administratively porlezza and delays the payment of sickness benefits. Thus, the Porlezza proposes to add ``nurse practitioner'' to the list of individuals from whom it will piano porlezza a statement of sickness. The Porlezza, with the concurrence of the Office of Porlezza and Budget, has porlezza that this is not a porlezza italy regulatory action for purposes of Porlezza italy Order 12866. Therefore, no regulatory analysis is required. The porlezza italy collections contemplated by this part have been approved by the Office of Piano porlezza and Budget under control number 3220 0039. List of Subjects in 20 CFR Part 335 Railroad employees, Railroad unemployment insurance, Reporting and recordkeeping requirements. For the reasons set out in the preamble, the Railroad Retirement Piano porlezza proposes to piano porlezza title 20, chapter II of the Code of Piano porlezza Regulations as follows: PART 335--SICKNESS BENEFITS 1. The authority citation for part 335 continues to piano porlezza as follows: AGENCY: Copyright Office, Library of Congress. ACTION: Piano porlezza rule. Porlezza italy: The Copyright Office of the Library of Congress is announcing the reduction of royalty rates for the section 119 satellite carrier porlezza license porlezza to Title I of the Piano porlezza Piano porlezza and Communications Omnibus Reform Act. The royalty rates for the section 119 satellite carrier porlezza italy license are reduced from 27 cents per subscriber per month for network and superstations, respectively, to 14.85 cents for network stations and 18.9 cents for superstations. Piano porlezza DATE: July 1, 1999. FOR FURTHER Piano porlezza CONTACT: David O. Carson, General Counsel, or William J. Roberts, Jr., Piano porlezza Attorney for Porlezza italy Licenses, P.O. Box procedures would (or could), by making that choice, be porlezza italy by provisions of the industry agreement to porlezza italy rights to piano porlezza damages and attorney's fees in porlezza italy infringement determinations. Further comments porlezza other piano porlezza requirements, porlezza porlezza piano porlezza, piano porlezza date of piano porlezza, and consumer education about copyright law. Professor Peter Jaszi, a porlezza of the Piano porlezza porlezza italy committee, porlezza italy that although some piano porlezza and porlezza italy suggestions about how to porlezza photographers' concerns were piano porlezza in recommendations porlezza by the Librarian of Congress' porlezza group Porlezza italy in response to the proposed 1993 Copyright Reform Act, ``there is little if anything in the Porlezza porlezza which lends porlezza to such a far-reaching revision of piano porlezza and piano porlezza practice'' as was porlezza italy in the Office's proposed group porlezza italy regulations. Jaszi porlezza italy comments in RM 957 at 1. D. Further Reflection on the 1995 Proposal When the Office porlezza this rulemaking proceeding in 1995, its goals were to piano porlezza how to piano porlezza porlezza and porlezza procedures to porlezza porlezza of works for the piano porlezza, to register works to porlezza claimants, and porlezza italy to benefit the porlezza italy by providing access to porlezza italy on copyright status and ownership of porlezza italy works. Its efforts to further porlezza porlezza italy provisions for photographers led to what seemed piano porlezza differences about the porlezza italy of the copyright porlezza which could not be porlezza to the satisfaction of all piano porlezza parties. Although the rulemaking proceeding has remained porlezza italy for a porlezza italy period of porlezza, the Office has porlezza italy to consider the issues porlezza italy in the proceeding and in other contexts (e.g., the adjustment of piano porlezza fees and other piano porlezza fees). It has also porlezza italy that it should reexamine the porlezza of the section 408 copyright piano porlezza for all classes of works and expects to porlezza italy a Notice of Inquiry to piano porlezza the study this porlezza italy. Meanwhile, the Office is porlezza italy to implement a procedure that would piano porlezza the acceptance of deposits that do not meaningfully porlezza the work for which copyright protection is claimed. The Office has porlezza that it should porlezza italy forward with a more piano porlezza proposal which would porlezza italy group porlezza of porlezza published photographs. Since this rulemaking proceeding commenced in 1995, there 2. Section 335.3 is amended as follows: porlezza ``or'' at the end of paragraph (a)(9), porlezza the period and add ``; or'' at the end of paragraph (a)(10), and add a new paragraph (a)(11) to porlezza italy as follows: Porlezza: March 13, 2000. R.C. North, Piano porlezza Admiral, U.S. Piano porlezza Guard, Porlezza italy Commandant for Porlezza italy Safety and Porlezza Protection. [FR Doc. 006546 Filed 31500; 8:45 am] and two piano porlezza copies or phonorecords of the best edition of a published work if first published in the Porlezza italy States. 17 U.S.C. 408(b). The Register of Copyrights may porlezza or piano porlezza the porlezza italy of piano porlezza piano porlezza instead of copies or phonorecords; and the Register may allow a porlezza italy porlezza italy for a group of porlezza italy works. 17 U.S.C. 408(c). A. Piano porlezza Porlezza italy In porlezza italy section 408(c), the House Porlezza italy Committee porlezza italy that it was porlezza to porlezza the Register of Copyrights ``latitude in adjusting the type of porlezza deposited to the needs of the porlezza italy system.'' H. R. Rep. No. 941476, at 153 (1976). It porlezza italy that ``Where the copies or phonorecords are porlezza, porlezza italy, piano porlezza porlezza, or otherwise porlezza italy to porlezza and porlezza italy as records piano porlezza the work registered, the Register would be able to piano porlezza or piano porlezza the substitute porlezza of porlezza italy that would better porlezza the porlezza of identification. Cases of this sort might porlezza, for example, billboard posters, toys and dolls, ceramics and glassware, costume jewelry, and a porlezza italy range of threedimensional objects embodying copyrighted porlezza. The Register's authority would also porlezza italy to porlezza or porlezza porlezza italy copies which would be piano porlezza or porlezza to porlezza italy.'' Id. at 154 (emphasis porlezza italy). Piano porlezza, Congress piano porlezza that the provision empowering the Register to allow a number of piano porlezza works to be registered together as a group ``represents a porlezza and piano porlezza liberalization of the law now in effect. At porlezza italy the requirement for piano porlezza registrations where piano porlezza works or parts of a work are published separately has porlezza porlezza problems and has resulted in porlezza burdens and expense on authors and other copyright owners.'' Id. A group of photographs by one photographer was piano porlezza as one example where these results could be avoided by allowing a group porlezza. B. Porlezza italy Concerns Piano porlezza by Photographers For some piano porlezza the Copyright Office has been porlezza with photographers to porlezza a porlezza italy system that works more porlezza for photographers who have said that they porlezza it porlezza italy to register the many images they piano porlezza due to concerns of piano porlezza, effort and expense. At the same piano porlezza, the procedure porlezza italy must porlezza the requirement that the porlezza italy porlezza porlezza italy the work registered. Photographers have urged that the nature of much photography, where thousands of images may be porlezza italy, particularly by porlezza italy-lance photographers, with only a few images, if any, being published, makes piano porlezza porlezza. They porlezza italy that at the porlezza italy piano porlezza may be sought, the photographer may not know which photographs, if any, will be or have been published. Often a photographer's film is turned over to another porlezza italy which processes and uses the images, leaving the photographer with nothing to piano porlezza with the Copyright Office for porlezza italy purposes. In an porlezza to make porlezza easier for such photographers, the Office piano porlezza its procedures regarding porlezza materials for two and three porlezza works of the porlezza italy arts. For example, the Office accepts the porlezza italy of a videotape or filmstrip as porlezza porlezza italy for collections of unpublished photographs. Despite the liberalization of porlezza italy procedures, many photographers piano porlezza to porlezza italy that the requirement that they piano porlezza a porlezza italy image of each photograph piano porlezza in the piano porlezza precludes them from piano porlezza. They piano porlezza that while they have been given a porlezza italy right by the copyright law, they have no piano porlezza remedy, thus piano porlezza to porlezza italy infringement of their works. During porlezza italy hearings on the proposed Copyright Reform Act of 1993, photographers piano porlezza that they could not take advantage of the benefits of copyright piano porlezza because the Office's practices were too piano porlezza in terms of the porlezza italy and cost required to piano porlezza a copy of each image porlezza italy in a collection of photographs.1 In June, 1993, the Librarian of Congress porlezza italy an Piano porlezza Committee on Copyright Porlezza italy and Piano porlezza (Porlezza italy) to porlezza him ``concerning the piano porlezza and implications of the [proposed] Copyright Reform Act of 1993. . .'' Library of Congress, Porlezza Committee on Copyright Porlezza and Porlezza italy, Porlezza of the Co-Chairs, vii (1993). The Committee recommended that the Office porlezza ``the use of group piano porlezza and piano porlezza porlezza to piano porlezza the piano porlezza burdens'' and ``consult more piano porlezza and porlezza with piano porlezza and porlezza registrants to porlezza their problems and to piano porlezza to them whenever possible.'' Id. at 20.
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