The front room consists of a spacious bar and lounge, split into two sides, and in the back there's the cozy music venue, located right behind the bar, which features a retractable wall to prevent sound bleed when necessary. Pretty programmable LED walls in the front bar and behind the stage were designed by industrial design "legend" Tucker Viemeister, who created the JetBlue Terminal 5 "marketplace," among other things.
In this song, Peyroux tells to her former lover she is "all right," despite all that has happened. She remembers how he used to make her laugh, how he sang Christmas songs in bed. The lyrics also recall how he made her cry on the day he got drunk and threw a few of her things around. However, throughout the song she accepts that he is gone and eventually lets him know that she has been alone before and that she therefore is, or will be, all right.
As time unfolds, however, we see alright being used with greater frequency. As the below graph shows, from the 1970s onward, alright has seen its use increase considerably, signaling that it may eventually become standard as other words such as altogether and already once did.
In fact, in the 2009 American Heritage Dictionary usage survey, two-thirds of the Usage Panel rejected the use of the one-word alright, while over 90 percent accepted the two-word all right is similar constructions.
All Right, as two words, is a phrase that can function as both an adjective and an adverb. All right has a few different meanings: in proper or satisfactory condition; acceptable, allowable; in a satisfactory way; adequately. For example,
Anytime you are looking to use all right, it should appear as two separate words. As I mentioned above, the single-word alright is generally considered an error and your instructor or editor will probably strike it out.
Joni (Mia Wasikowska) and her brother Laser (Josh Hutcherson) have never known their father's identity; their moms -- Nic (Annette Bening), a doctor, and Jules (Julianne Moore), a fledgling landscape artist -- used a sperm bank to get pregnant. Once Joni turns 18, Laser urges her to take advantage of her right to find out who the anonymous donor was. Nic and Jules are concerned, but they agree to meet the "bio-dad," a free-spirited, organic-farming restaurateur named Paul (Mark Ruffalo). The introduction goes fairly smoothly, but a bumpy road lies ahead ... especially when Jules starts designing Paul's backyard and the kids decide it's time to get to know him better.
THE KIDS ARE ALL RIGHT is more than all right. It may be known for the fact that it's a movie about same-sex parenting, but beyond that, it's a smart, funny, and affecting look at modern-day relationships and the daily -- and, in this case, outsized -- pressures that erode their foundation. Parenting is exhausting, couplehood can be draining, and making messes is much too tempting. It's difficult terrain no matter who's in your family.
Part of what makes the movie refreshing is that there are no villains here -- just adults and, to a lesser degree, teens trying to make sense of their complexities, desires, and confusions. In short, trying to be all right. The three leads show off their ferocious gifts with surety, and the kids -- Wasikowska, especially -- skillfully keep up. The script isn't without its weak spots: What compels Jules to take up with Paul is a mystery, for instance (and no, his scruffy good looks alone don't explain it). But that's a minor quibble.
USCIB (including its employees and agents) assumes no responsibility for consequences resulting from the use of the information herein, (or from use of the information obtained at linked Internet addresses,) or in any respect for the content of such information, including (but not limited to) errors or omissions, the accuracy or reasonableness of factual or scientific assumptions, studies or conclusions, the defamatory nature of statements, ownership of copyright or other intellectual property rights, and the violation of property, privacy, or personal rights of others. USCIB is not responsible for, and expressly disclaims all liability for, damages of any kind arising out of use, reference to, or reliance on such information. No guarantees or warranties, including (but not limited to) any express or implied warranties of merchantability or fitness for a particular use or purpose, are made by USCIB with respect to such information.
The new film The Kids Are All Right, directed by Lisa Cholodenko, owes an obvious debt of gratitude to The Who, even though the band's music doesn't appear on the soundtrack. The title is lifted from a classic song from The Who's 1965 debut album, which also served as the title of a 1979 documentary about the band. Discerning readers will notice a small but important difference: the song and the documentary were spelled "The Kids Are Alright." Did Cholodenko "correct" The Who's spelling?
CS: Did the title come to you very early on in the writing? Cholodenko: It did. It was more like a working title and I never thought we'd end up with it, but it just kept feeling resonant, so I thought, "You know, stick it on there and see if it passes, and if The Who is not going to sue me, then we'll use it." CS: When you hear "The Kids Are All Right," you expect it to be spelled with one 'l' and being one word, but the way it's spelled has a very different meaning. Was that something you toyed around with or was that just the way it was and that worked? Cholodenko: No, it was partly because of the copyright and partly because we liked the double entendre of it.
Cholodenko's choice of title, then, had nothing to do with the sense held by many that alright is an incorrect form of all right. But in changing the spelling, she might have spared herself some grief from the likes of Nathan Heller, who writes the "Copy-Editing the Culture" series for Slate's Brow Beat blog. Heller recently took the makers of the film Grown Ups to task for omitting the hyphen in the title. (Jules Feiffer actually spelled it the exact same way in the title of a 1981 play, in an offering that was a bit more highbrow than that of Adam Sandler and company.)
Titling Cholodenko's movie The Kids Are Alright might have raised similar hackles, regardless of the precedent set by The Who. Copy editors have yet to warm up to alright, despite its documented use in informal English for well over a century, modeled on words like already and altogether. As Wendalyn Nichols, editor of the Copyediting newsletter (and occasional Visual Thesaurus contributor), told The New York Times in 2006, "all right is still a two-word locution. We do have a higher tolerance for creative spellings in creative spheres, although [the Who song] 'The Kids Are Alright' gave everyone permission to spell it wrong."
The history of all right vs. alright is far too complex to go into here, but you can find the full story in Merriam-Webster's Dictionary of English Usage. According to MWDEU, the alright spelling has attracted enmity from copy editors and usage writers since the early twentieth century. (It is said that H.L. Mencken made Theodore Dreiser change his use of alright in the manuscript for his 1914 novel The "Genius.") Proponents of alright have argued that it is semantically distinct from all right, though the exact nature of that distinction is very much open to interpretation.
Cholodenko seems to be playing on the perceived difference between alright and all right when she says that "we liked the double entendre of it." What additional meaning does all right provide that would have been absent from alright? I don't think it's that "all the kids are right" in the film. After all, there are only two kids in question: the children of a lesbian couple who go in search of their biological father. Rather, as Cholodenko told the San Francisco Bay Guardian, "it's sort of an ironic title, in the sense that the kids are kind of doing better than the moms." She also suggests that it's a form of social commentary responding to those who worry about gay people raising "psychologically healthy children": "The kids are fine. Don't worry about them. They're just right."
Caterpillar retains all copyrights in any text, graphic images, and software owned by Caterpillar and hereby authorizes you to electronically copy documents published herein solely for the purpose of transmitting or viewing the information. You may not mirror, modify or otherwise alter any files in this website for rebroadcast, or print the information contained therein, without written permission from Caterpillar. Except as expressly provided above, nothing contained herein shall be construed as conferring any license or right under any Caterpillar copyright, patent or trademark.
Copyright protection is available for various original works, such as writings (books, articles, theatrical plays, screenplays, etc.), photographs, paintings, and musical scores and lyrics.
Original creative work has some copyright protections the moment it is created. But having copyright protections and enforcing a copyright are two different things. To enforce your copyright, the key question becomes: How do you prove you have a copyright?
The safest course of action is to use both a copyright notice and copyright registration. Notifying others that you are claiming copyright protections to your work will discourage many from infringing on the copyright.
Writing a copyright notice follows standard practices, typically done in one of three ways, all of which are very similar and simple. For example, if Stephen King writes and publishes a new novel in 2021, he would notify others of the copyright by placing one of the following notations on all copies of the book: 041b061a72