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Cirrus | Biographies/Gronk

Cirrus | Biographies/Gronk



Biographies


GRONK


BORN: Los Angeles, California, 1954


SOLO EXHIBITIONS:

1992 "Fascinating Slippers/Pantunflas Fascinantes", Daniel Saxon Gallery, Los Angeles, Ca
1990 "Hotel Senator," Daniel Saxon Gallery, Los Angeles, CA (catalogue)
"King Zombie," William Traver Gallery, Seattle, WA
"Coming Home Again," Vincent Price Gallery, East Los Angeles College, CA
Galerie Claude Samuel, Paris, France
1989 "Grand Hotel," Saxon-Lee Gallery, Los Angeles, CA
"Grand Hotel," Iannetti-Lanzone Gallery, San Francisco, CA
"King Zombie," Deson-Saunders Gallery, Chicago, IL
1988 "She's Back," Saxon-Lee Gaallery, Los Angeles, CA
1987 "Bone of Contention," Saxon-Lee Gallery, Los Angeles, CA
1986 "The Rescue Party," Saxon-Lee Gallery, Los Angeles, CA
1985 "The Titanic and Other Tragedies at Sea," Galerie Ocaso, Los Angeles, CA
1984 "Gronk," Molly Barnes Gallery, Los Angeles, CA


SELECTED GROUP EXHIBITIONS:

1991 "Chicano & Latino: Parallels & Divergence," Daniel Saxon Gallery, Los Angeles, CA (traveling to Kimberly Gallery, Washington, DC and El Paso Museum of Art, TX)
"Of Nature and the Human Spirit, Part II, Daniel Saxon Gallery, Los Angeles, CA
1990 "Chicano Art/Resistance and Affirmation, 1965-1985," Wight Art Gallery, UCLA (September 9-December 9, 1990), traveling through 1993 to The Denver Museum, The Albuquerque Museum, The National Museum of Art, The San Francisco Museum of Modern Art, The Tucson Art Museum, The Fresno Art Museum
1989 "Hispanic Art on Paper," Los Angeles County Museum of Art, CA
"From the Back Room," Saxon-Lee Gallery, Los Angeles, CA
"Le Demon Des Anges," Traveling to Museums in Nantes, Barcelona, Stockholm, Paris
"Mister Sister," Installation, Laguna Art Museum, Laguna Beach, CA
"Three," Galerie Claude Samuel, Paris, France
1988 "Cultural Currents," San Diego Museum of Art, San Diego, CA
"On the Spot," Centro Cultural de la Raza, San Diego, CA
"Two Artists/Recent Works," University of California, San Diego, CA
"Ten Latino Artists," Jack Tilton Gallery, New York, NY
1987 "Hispanic Art in the United States: Thirty Contemporary Painters and Sculptors," Museum of Fine Arts, Houston, TX. Traveling to The Corcoran Gallery of Art, Washington, DC; The Brooklyn Museum, Brooklyn, NY; Los Angeles County Museum of Art; The Lowe Art Museum, Miami, FL; Museum of Fine Arts,
1987 Museum of New Mexico, Santa Fe, New Mexico (catalogue)
"On the Wall," Santa Barbara Contemporary Arts Forum, Santa Barbara, CA
"LA Hot and Cool: Pioneers," Bank of Boston Art Gallery, Boston, MA (catalogue) organized by the MIT List Visual Arts Center
1986 "Crossing Borders/Chicano Artists," San Jose Museum of Art, CA
1985 "Asco '84," Los Angeles Contemporary Exhibitions, Los Angeles, CA (catalogue)
"Summer 1985," Museum of Contemporary Art, Los Angeles, CA (catalogue)
1984 "Asco '84," Armory for the Arts, Santa Fe, NM
1983 "A Traves de la Frontera," Centro de Estudis Economicos y Sociales Del Tercer Mundo, San Jeronimo, Mexico (catalogue)
"Asco '83," Sesnon Art Gallery, University of California, Santa Cruz
1982 "Asco '82," Galeria de la Raza, San Francisco, CA
1980 "Gronk/Herron: Illegal Landscapes," Exploratorium Gallery, California State University, Los Angeles, CA
"Latinos de Tres Mundos," Los Angeles City College, CA
1979 "Gronk/Pattsi," West Colorado Gallery, Pasadena, CA
1978 "Faces of Christ," Malone Art Gallery, Loyola Marymount University, Los Angeles, CA
"Hollywood, Hollywood," Cedars-Sinai Hospital Gallery, Los Angeles, CA
"T-Art," West Colorado Gallery, Pasadena, CA
"No Movie," Los Angeles Contemporary Exhibitions, CA
"Dreva/Gronk 68-78," Los Angeles Contemporary Exhibitions, CA
"Valentines," Lyndon House Galleries, Athens, GA
"Hecho en Latinoamerica," Museo de Arte Moderno, Mexico City
1977 "Public Works," Exploratorium Gallery, California State University, Los Angeles, CA
"Schizophrenibeneficial," Mechicano Gallery, Los Angeles, CA
"No Movie," University of California, Santa Barrbara, CA
1976 "New Works," Galeria de Artes Nuevos, Buenos Aires, Argentina
"Artists Have No Rules," Manawatu Art Gallery, Manawatu, New Zealand
"Ancient Roots/New Visions, Raices Antiquas/Visiones Nuevas," Los Angeles Municipal Art Gallery, CA
1975 "Chicanismo en El Arte," Los Angeles County Museum of Art (catalogue)
"Chicano Art," Office of the Govenor, State of California, Sacramento (catalogue)
"Ascozilla," Fine Arts Gallery, California State University, Los Angeles
"Asco/Los Four," The Point Gallery, Santa Monica, CA
"The Four in Longo," Long Beach Museum of Art, CA


PERFORMANCES:

1988 "Installation/Performance," Creative Times, New York, NY
1987 "Isamania," Los Angeles Contemporary Exhibitions, CA
1986 "Jetter Jinx," University of California, Irvine and Saxon-Lee Gallery,
1986 Los Angeles, CA
1985 "Asco '84," Los Angeles Contemporary Exhibitions, CA
"Morning Becomes Electricity," Museum of Contemporary Art, Los Angeles, CA
"Jetter Jinx," Los Angeles Theatre Center, CA
1984 "Asco '84," Armory for the Arts, Santa Fe, NM
1983 "Asco '83," M.A.R.S. Gallery, Phoenix, AZ
"Asco '83," Sesnon Art Gallery, University of California, Santa Cruz, CA
1982 "Asco '82," Galeria de la Raza, San Francisco, CA
1980 "Gronk/Herron: Illegal landscapes," Exploratorium Gallery, California State University, Los Angeles, CA
1978 "Pseudoturquoisers," Exploratorium Gallery, California State University, Los Angeles, CA
"No Movie," Los Angeles Contemporary Exhibitions, CA


SPECIAL PROJECTS:

1990 Set designs for "The Chairman's Wife," performed at East/West Players, Los Angeles, CA
Set designs for "Come Back Little Sheba," performed at East/West Players, Los Angeles, CA
1989 Set designs for Paris Jazz Festival, organized by Pascal DuPoint, Paris, France
1988 Set disigns for "Stone Wedding," written by Milcha Sanchez-Scott, performed at Los Angeles Theatre Center, CA
1984 "Blanx," video tape, performance by Gronk, written and directed by Harry Gamboa, Falcon Cable TV, Southern California
"Orphans of Modernism, Act I," May 19
"Orphans of Modernism, Act II," June 12
performance by Gronk, written by Harry Gamboa, KPFK-FM, Los Angeles, 1980"Murs, Murs," film by Agnes Varda with performance by Asco


AWARDS:

1983 Visual Artist Fellowship, National Endowment for the Arts
1977 Artist of the Year, Mexican American Fine Art Association, Los Angeles, CA




BIBLIOGRAPHY:

1990
Snow, Shauna. "An Irresistible Sense of Improvisation Keeps Gronk Grinning," Los Angeles Times, April 1, 1990, Calendar Section.
Pyne, Lynn. "'Post-Chicano' art tries to 'break boundaries'," The Phoenix Gazette, September 1990.
"Power to the Paintbrush," Angeles, September 1990, p. 27.
Salzman, Linda Sher. "Sanity Saved, Humanity Lost," Artweek, September 27, 1990, p. 16.
"Calendar," Laguna Art Museum Magazine, Sept./Oct. 1990.
Sullivan, Meg. "No Reservations at Gronk Hotels," Daily News, September 14, 1990, p. 50.
Sawahata, Lesa. "Hispanicart," Exposure Magazine, October 1990, p. 34.
Harbrecht, Gene. "Gronk's 'Hotel Zombie' Presents a Rabbit Warren of Images," The Orange County Register, Wednesday, September 19, p. 6.
Takahama, Valerie. "Gronk's Palette Holds Whimsy, Humor - and a Tone of Rebellion," The Orange County Register, Wednesday, September 19, pp. 1 & 7.
1989 Martinez, Ruben. "Gronk If You Like Art," LA Style, February 1989, pp. 28- 30.
"Hispanic Art: A Los Angeles Renaissance," Sunset Magazine, February 1989, pp. 14-15.
de la Pena, Abelardo. "Hispanic Art: From the Heart," Santa Monica News, February 3-16, vol. 3 no. 3, p. 1.
Goodwin, Betty. "Chills, Thrills, at LACMA Preview Party," Los Angeles Times, Part V, Friday, February 3, p. 4.
Venant, Elizabeth. "On-the-Wall Latino Art at LACMA," Los Angeles Times, Calendar Section, Saturday, February 4, p. 16.
Wilson, William. "An Art That Cuts Close to the Bone," Los Angeles Times, Sunday, February 5, p. 8.
Los Angeles Herald Examiner, Sunday, February 5, E3.
Daily News, L.A. Life Section, Sunday, February 5, p. 17.
Geer, Suvan. "The Galleries," Los Angeles Times, Part VI, Friday, February 10, pp. 13-14.
Garza, Oscar. "L.A., S.A. Artists Use Different Strokes," San Antonio Light, Sunday, February 12, p. K1.
Wood, Daniel. "Hispanic Art Goes Mainstream," The Christian Science Monitor, Friday, February 17, p. 11.
Marks, Ben. "Nightmares of Self-Indulgence," Artweek, February 12, 1989, p. 4.
Yankes, Bill. "Latino Art Exhibition a Colorful Milestone; Artist Chides Museum," Los Angeles Times, "Nuestro Tiempo," March 23, 1989, p. 1.
Rubin, Jane. "Gronk," Artcoast, May/June 1989, p. 81.
Larson, Kay. "Sex and Politics," New York, July 17, 1989 p. 51.
Mesa-Bains, Amalia. "Contemporary Chicano and Latino Art," Visions, Fall 1989, pp. 14-19.
1988 Weisman, Alan. "Born In East L.A.," Los Angeles Times Magazine, Sunday, March 27, 1988, pp. 10-25.
Freudenheim, Susan. "Diverse Exhibition Puts Viewer 'On the Spot'," San Diego Tribune, March 23, 1988.
Ollman, Leah. "Centro Cultural's 'On the Spot' Applies to Both Viewers, Artists," Los Angeles Times, San Diego County Edition, Friday, April 8, 1988.
El Sol de San Diego, "Centro Cultural Hosts Art Events," March 24, 1988.
L.A. Weekly, "On the Cover, Illustration," March 4-10, 1988, p. 1.
Curtis, Cathy. "The Galleries," Los Angeles Times, Friday, May 27, 1988, pp. 17-18.
Jones, Amelia. "Art," L.A. Weekly, June 3-9, 1988, p. 45.
Bonsey, Catherine. "Gronkus Maximus," Diana Zlotnick's Newsletter on the Arts, vol. XIII, no. 3, 1988.
Lacayo, Richard. "A Surging New Spirit," Time, July 11, 1988, pp. 46-49.
Montano Army, Mary. "El Arte," New Mexico, July 1988, pp. 36-41.
Scott Anderson, Nancy. "Scene," San Diego Tribune, Friday, July 8, 1988, D1.
Pincus, Robert L. "Museum of Art Exhibit is an Ethnic Mix," San Diego Union, Thursday, July 21, 1988.
Christensen, Judith. "Disparate Influences, Shared Attitudes," Artweek, August 6, 1988, vol. 19, no. 27, p. 8.
Saville, Jonathan. "Original Thirteen," San Diego Reader, August 11, 1988, vol. 17, no. 31.
Cruz, Adam. "Latin Lookers," Elle, August, 1988, pp. 34-38.
Hoffman, Magdalena. "Southern California's Cultural Traditions," Southern California Home and Garden, August, 1988, pp. 28-32.
Van Kirk, Kristina. "California Chicano Art," Flash Art, Summer, 1988, no. 141, pp. 116-117.
Morgan, Robert C. "Review," Arts Magazine, October 1988, p. 103.
Freudenheim, Susan. "Irresistibly Despairing," San Diego Tribune, Wednesday, November 16, 1988, C-1.
Christensen, Judith. "Two L.A. Artists Display Contrasting Styles at Mandeville Gallery," San Diego Union, Thursday, December 1, 1988, E-8.
1987 McCombie, Mel. "Surveying the Range," Artweek, vol. 18, no. 22, June 6, 1987, p. 9.
Berryhill, Michael. "Hispanic Art Vibrates with Color and Energy," USA Today, Tuesday, May 5, 1987, p. 4D.
Johnson, Patricia C. "Vibrant Hispanic Art Captured in MFA Exhibit," Houston Chronicle, Section 3, Saturday, May 2, 1987, p. 1.
"Hispanic Art in the United States: Thirty Contemporary Painters & Sculptors," Houston Chronicle, Supplement Catalogue, Sunday, April 26, 1987.
Burnham, Linda Frye. "ASCO Camus, Daffy Duck and Devil Girls from East L.A.," L.A. Style, February 1987, pp. 56-58.
Journal, The Los Angeles Institute of Contemporary, Winter, 1987.
McKenna, Kristine. "Review," Los Angeles Times, Friday, July 10, 1987, Part VI, pp. 16-17.
1987Margolis, Judith. "Down to the Bone," Artweek, July 25, 1987, vol. 18, no. 26, p. 7.
Knight, Christopher. "Caricaturist Expresses a 'Bone' to Pick," Los Angeles Herald Examiner, Friday, July 31, 1987, p. 4.
Richard, Paul. "The Brilliant Assault at the Corcoran, the Stunning Colors of Hispanic Art," Washington Post, Style section, Saturday, October 10, 1987, pp. B1, B8.
Dupont, Pascal. "Frontieres de L'Ouest: Les Chicanos," Actuel, July/August 1987, no. 93-98, pp. 140-151.
1986 Montana, Costanza. "From Barrio to Big Time," The Wall Street Journal, Friday, October 17, 1986.
Burkhart, Dorothy. "The Political and the Personal Meet in Latino Art," San Jose Mercury News, Section D, Friday, August 1, 1986, p. 1D.
Goldman, Shifra M. "In the Middle of Gronk's Torment," La Opinion, June 1986.
Dubin, Zan. "Artist Won't Be Confined to Gallery," Los Angeles Times, Part VI, Friday, June, 1986 p. 8.
Conal, Robbie. L.A. Weekly, May 30 - June 5, 1986.
Munchnic, Suzanne. "Review," Los Angeles Times, Part VI, Friday May 23, 1986, p. 15.
Benavidez, Max. "Latino Dada, Savage Satire From Harry Gamboa Jr.," L.A. Weekly, May 16-22, 1986.
Compton. K.C. "LA Artist Headlines Benefit," The New Mexican Pasatiempo Magazine, Friday, April 25, 1986, p. 4.
Burnham, Linda. "Gronk and James Bucalo, Morning Becomes Electricity," Artforum, February 1986, pp. 110-111.
"Gronk," High Performance, Issue 35, 1986, p. 57.
1985 Munchnic, Suzanne. "Outside-In Tour of L.A. In Summer '85: 9 Artists," Los Angeles Times, June 22, 1985.
Temko, Susannah. "Nine Artists for 1985," Downtown News, July 1, 1985.
Register, Kathy. "'Summer 1985' Provides a One-Stop L.A. Art Tour," Pasadena Star-News, July 7, 1985.
Baker, Kenneth. "Nine Artists on the Loose in Los Angeles," San Francisco Chronicle, July 18, 1985.
Pincus, Robert L. "MOCA Makes Too Much Out of Too Little," San Diego Union, July 25, 1986.
Gottlieb, Shirle. "Nine Artists Combine Works to Form Show With an Atmosphere of Diversity, Originality," Long Beach Press-Telegram, August 16, 1985.
Wilson, William. "Browsing in the 'Summer 1985' Boutique," Los Angeles Times, August 18, 1987, p. 97.
Plagens, Peter. "MOCA, Mix, the Good, the Bad and the Unplugged," L.A. Weekly, vol. 7, no. 37, August 1985, pp. 65, 66, 68.
Brown, Julia & Crist, Jacqueline. "Summer 1985," The Museum of Contemporary Art (catalogue).
Knight, Christopher. "A Something-For-Everyone Group Exhibit at MOCA, Museum selects work of nine 'original voices'," Los Angeles Herald Examiner, p. B-5, col. 1, June 26, 1985.
Norklun, Kathi. "Gronk at the Galeria Ocaso," L.A. Weekly, April 19-25, 1985.
1984 Benavidez, Max and Vozoff, Kate. The Wall: Image and Boundary Chicano Art in the 1970's, Mashville, TN: Vanderbilt University, Center for Latin American and Iberian Studies, 1984.
Donohue, Marlena. "The Galleries," Los Angeles Times, part VI, September 21, 1984, p. 12.
Montini, E.J. "Avant Garde Troupe Performs Bizarre Show for Unwitting Crowd," The Arizona Republic, November 9, 1984.
1982 Benavidez, Max. "The World According to Gronk," L.A. Weekly, September 13-19, 1982, p. 30.
1980 Lambeart, Bob. "Gronk," Egozine, vol. 3, January 1980.
Gamboa, Harry. "Asco '83," Caminos, vol. 1, no. 1, March 1980.
"Gronk: Off the Wall Artist," Neworld Magazine, vol. 6, no. 4, July 1980.
"Cultura Chicano: Los Angeles," La Opinion, Suplemento Cultural de La Opinion, no. 11, July 1980.
1979 Hansen, Al. "One Hand Clapping," LAICA Journal, Los Angeles Institute of Contemporary Arts, February , 1979.
Hugo, Joan. "Communication Alternatives," Artweek, vol. 10, no. 31, September 29, 1979, p. 5.
1978 Castro, Tony. "Art Without Borders," Los Angeles Herald Examiner, May 4, 1978, p. A3.
Gamboa, Harry. "Chicanos: Presencia y Lucha," La Imagen Imagenaria, Suplementos del XVI Aniversario, June 1978.
Moisan, Jim. "Ancient Roots, New Visions," Artweek, vol. 9, no. 26, July 29, 1978, p. 8.
Orth, Maureen. "The Soaring Spirit of the Chicano Arts," New West, September, 1978.
1977 Gamboa, Harry and Gronk. "No Movie: Gronk and Gamboa," Chismearte, vol. 1, no. 1, November, 1977.
1976Gamboa, Harry. " Gronk and Herron: Muralists," Neworld Magazine, vol. 2, no. 3, April 1976.
1975 Flaco, Eduardo. "Chicanismo en El Arte," Artweek, vol. 6, no. 20, May 17, 1975, p. 3.

Facebook | Noubar Der-sarkisian

Facebook | Noubar Der-sarkisian

Armenians for Palestine

What does it mean? Are Armenians haters?

You cannot run a world class economy on the backs of service industry workers

There was a time when 21st Century Insurance was a brand with meaning. It stood for quality - the best service at the best rates - and I felt lucky to qualify for this insurance.

Now it is an illustration of how corporate mergers and acquisitions ruin companies, decrease competitiveness and harm the worker and the consumer. The only beneficiaries are a very few in top management who have employment contracts that guarantee their bonuses based on the price of the stock and the success of the M&A activity, the M&A investment bankers and lawyers, a few major stockholders who understand what is happening well enough to perfectly time stock purchases and sales. And that is it.

The consumers have definitely not benefited. The employees of the original 21st Century Insurance and AIG Marketing have not benefited. The economy has not benefited.

There have been many players on both sides who have played very badly in terms of being decent human beings. Layoffs on both coasts have been decided out of fear, anger, misplaced loyalty and all the other lowest common denominators of behavior that intensely insecure environments bring out.

But it is the system that is broken, not just a few bad apples that have ruined the house.

Farmers is in the process of outsourcing every aspect of information technology to foreign countries. The name, nature and existence of foreign countries is not the problem. The problem is that the overall system only rewards short term profits, and punishes long term planning. As many economists have explained, you cannot run a world class economy on the backs of service industry workers. McDonald's will need to hire locally. Plumbers will need to live locally. The concept that economic growth can be sustained in such an environment is fundamentally unsound. One doesn't need a degree in micro economics to understand why.

Farmers is strategically shutting down the half of 21st Century Insurance that actually has the capability to perform direct marketing to consumers and support the type of 24/7 high quality operation that can retain direct consumers. Farmers is retaining the half of 21st Century Insurance, the former AIG Marketing subsidiary, which is able to wholesale auto loans to affinity groups and additionally, outsources much of the policy support operations to retain the customers to the affinity groups.

One cannot assume that Farmers is devoid of intelligent life. Which means that Farmers plans to eliminate the direct marketing of auto loans to consumers, and move the book of business to their agents. This is logical as Farmers risks alienating the group that brings in 100% of their business currently, the agents.

As far as information technology goes, Farmers has quite openly announced that all internal jobs will be outsourced, predominantly overseas. There is no doubt that is the future for 21st Century Insurance also. The work of the former IT teams on the west coast have already been transferred overseas. And the plans to move the IT work on the east coast overseas are already negotiated. Several systems have already started the work to transfer the system to the Farmers equivalents, although not everyone is aware of this fact.

Additionally, the fact that Farmers was surprised to learn that the call center support in California are all highly trained and licensed insurance agents, indicates that it is no accident that these competitors to the Farmers agents are being eliminated. Internal studies have found that the regional differences within the country make for frustrated and unhappy customers when people are dealing with complex products such as insurance and cannot receive help in their time zone.

There are no efforts going on to retain business at 21st Century Insurance. Between the recent rate increases, the plans to change to a new rating system that will further raise rates and the profound focus on decreasing costs at the expense of increasing business indicate a company that is at the top both aware of and helping to plan its own decline.

One of the many losses to the public of the M&A activities of oversized corporations is that there is no longer any transparency. It was easy to see the motivation of previous CEO's of 21st Century Insurance through SEC filings. The fact that similar motivations and contracts may exist for current top management will never become public because deals within the company do not fall under the SEC controls. There may very well be an enormous payout to top 21st Century Insurance management for eliminating the book of business for direct customers, but only a handful of people will ever be privvy to the deals.

Anyone left at 21st Century Insurance in any location who does not possess inside knowledge of the arrangements and monetary motivations being offered at the top should not be surprised at the upcoming, and seemingly illogical cuts and changes in 2010 and 2011. The end result will not be the growth of 21st Century Insurance, nor will it be a transformation of Farmers to a direct marketing firm.

Again, a few people will get very, very rich.

And the majority of consumers and workers who support the backbone of the economy will suffer.

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ten-things-not-to-say-when-firing-an-employee: Personal Finance News from Yahoo! Finance

ten-things-not-to-say-when-firing-an-employee: Personal Finance News from Yahoo! Finance


This is not a very good article for a magazine of the caliber of BusinessWeek.

Is the internet bringing down the quality of journalism overall?

Yes.

AT&T - Baker's dozen: 13 kitchen necessities

AT&T - Baker's dozen: 13 kitchen necessities

ALMOND AND OAT FLOUR

Jodie Chavious, pastry chef at Taylor's Market and Kitchen and Mason's Restaurant in Sacramento, Calif., substitutes almond or oat flour for all-purpose flour in some of her sumptuous sweets.

"They have a better flavor, texture and can turn a normal chocolate chip cookie into something much more tasty," she said.

Chavious makes her own flours by grinding up the almonds or old-fashioned rolled oats in a blender.


Into the Pacific: October 2009

Into the Pacific: October 2009: "http://www.facebook.com/album.php?aid=2409610&id=3409076&l=92743fe5a5"

Sunday, November 08, 2009

CarePages FAQ

CarePages FAQ

http://cms.carepages.com/CarePages/en/About/faq.html

Worldmapper: Royalty Fees

Worldmapper: The world as you've never seen it before

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Royalty Fees

"Over half (53%) of the value of all royalty and license fees paid in 2002 were received in one territory: the United States. Large proportions of these fees were also received in Japan and the United Kingdom.

These fees are the payments made by someone who wants to use an idea, invention or artistic creation that legally belongs to someone else. To receive these fees a copyright or patent is needed, which may remain active for years after the initial invention. Thus of the US$44 billion received as royalty and license fees in the United States in 2002, much will be revenue from work that was completed prior to that year."

This explains copyright infringement in the third world. Until governments have an economic stake in upholding international copyright law, then enforcement will remain an issue.