Flannel Shirt

Wow!

Think of how many buses the Koch Brothers could rent for Tea Party events with $100 billion.

On October 20^th, progressive think tank International Forum on Globalization (IFG) released a report investigating how owners of Koch Industries, Charles and David Koch, will benefit should President Obama allow the Keystone XL Pipeline to be built. The report, entitled Billionaires’ Carbon Bomb: The Koch Keystone XL Pipeline, reveals Koch Industries

substantial interest in the controversial pipeline. Staggering numbers punctuate the report; the Kochs hold

up to 2 million acres in Alberta, could earn $100 billion in profits from the project, and have spent upwards of $50 million on congress and think tanks that heavily push for the pipeline.

The Kochs have long been one of the largest players in the tar sands region of Alberta, Canada. The report connects the Kochs’ 50 year history and large footprint in the Canadian tar sands to the current debate about the pipeline. Since the Kochs are big players, they will be big winners when the pipeline gets built. IFG crunched the numbers and found a frightening answer to why the Kochs have used their influence networks to push for fast-tracking of pipeline – $100 billion in potential profits.

The Kochs have long been one of the largest players in the tar sands region of Alberta, Canada. The report connects the Kochs’ 50 year history and large footprint in the Canadian tar sands to the current debate about the pipeline. Since the Kochs are big players, it stands to reason they will be big winners when the pipeline gets built. IFG crunched the numbers and puts forth a compelling answer to why the Kochs have used their influence networks to push for fast-tracking of pipeline – $100 billion in potential profits.

Other Findings in the report include:

• The Kochs will earn 1 million times more than the average worker of the pipeline.
• The Kochs alone own over 19 billion metric tons of carbon emissions in their tar sands holdings.
• Think tanks funded by the Kochs have released nearly 1000 pro-KXL reports or statements.
• Kochs have already made billions from insider trading and stand to do that again with tar sands.
• Koch Industries has a history of violence against people and the environment.
• The Koch Brothers seek to alter the public debate and control the policy debates in Washington.

“The Kochs have repeatedly claimed that they have no interest in the Keystone XL Pipeline, this report shows that is false.” Said Nathalie Lowenthal-Savy , a researcher with IFG. “We noticed Koch Funded Tea Party members and think tanks pushing for the pipeline. We dug deeper and found $100 billion in potential profit, $50 million sent to organizations supporting the pipeline, and perhaps 2 million acres of land. That sounds like an interest to me.” Nathalie continued, “We all know they will use that money to fund and expand their influence network, subvert democracy, crush unions like in Wisconsin, and get more extremists elected to congress.

“The past two weeks of the government shutdown brought to light the irresponsible influence of Koch-funded groups,” said Bold Nebraska Director, Jane Kleeb. “Rewarding the Koch Brothers with Keystone XL, who at every turn fund campaigns to mislead Americans on everything from climate to gas prices, is like the President advocating for Sen. Cruz to be the Majority Leader. It makes no sense. Farmers and ranchers in Nebraska are depending on Pres. Obama to see our national interest is not served with a pipeline that lines the pockets of climate deniers and foreign oil.”

It is still anybody’s guess if President Obama will approve the northern leg of KXL. He has hinted that he has issues with the project, though he has not denied the permit. It is clear that IFG — and a growing number of other organizations — think the pipeline is in the interest of oil billionaires, not the American public.

Ain't it always

If you are a rock and roll afficionado you know the name Barrett Strong. Strong will forever be known as the man who wrote the rock and roll classic "Money". Except at Motown, and at the US Copyright Office.

Over the years, “Money” has generated millions of dollars in publishing royalties. It was recorded by both the Beatles and the Rolling Stones, has been widely used in films and advertisements and is now featured in “Motown: The Musical” on Broadway. But the pianist and singer Barrett Strong, who first recorded “Money” and, according to records at the United States Copyright Office in Washington, was originally listed as a writer of the song, says that he has never seen a penny of those profits.

Unbeknown to Mr. Strong, who also helped write many other Motown hits, his name was removed from the copyright registration for “Money” three years after the song was written, restored in 1987 when the copyright was renewed, then removed again the next year — his name literally crossed out.

Documents at the copyright office show that all of these moves came at the direction of Motown executives, who dispute Mr. Strong’s claim of authorship. Berry Gordy Jr., Motown’s founder, declined requests for an interview, but his lawyers contend that the original registration resulted from a clerical error, and that Mr. Strong passed up numerous opportunities to assert his claim.

Mr. Strong said he learned of the alterations only late in 2010 and has been struggling ever since to have his authorship officially reinstated. At stake: his ability to share in the lucrative royalties from the song’s use. But his efforts have been blocked by a provision of copyright law that says he relinquished his rights by failing to act in a timely fashion to contest Motown’s action.

Mr. Strong’s predicament illustrates a little-known oddity in the American copyright system, one that record and music publishing companies have not hesitated to exploit. The United States Copyright Office, a division of the Library of Congress, does not notify authors of changes in registrations, and until recently the only way to check on any alterations was to go to Washington and visit the archives personally.

“For 50 years, I had no idea about any of this,” Mr. Strong, 72, said in an interview here, in which he acknowledged his lack of business acumen. “It was hidden from me. So how do they expect me to have acted to protect myself? It’s crazy and unfair.”

The long and complicated tale of “Money” begins, in Mr. Strong’s telling, with a simple but mesmerizing piano riff that came to him more than half a century ago as he was working as a session musician in a recording studio here. He was 18, a Mississippi native who had grown up in Detroit dreaming of a music career and had just been signed to a contract with Mr. Gordy, who was both his label president and his personal manager — an arrangement unthinkable today because of its inherent conflict of interest, but not unheard-of at the time.

“We were doing another session, and I just happened to be sitting there playing the piano,” he recalled. “I was playing ‘What’d I Say,’ by Ray Charles, and the groove spun off of that.”

As Mr. Strong was polishing the riff, the recording engineer, Robert Bateman, recalls becoming increasingly animated. “And when I get excited, the very first thing I do is call Berry,” Mr. Bateman said at an event at the Hard Rock Cafe in 2010. “ ‘Whoa, Berry, you’ve got to hear this, you’ve got to hear this, you’ve got to hear this.’ ”

“Anyway,” Mr. Bateman added, “it all emanated from Barrett Strong.”

The guitarist on the “Money” sessions was Eugene Grew, who recalls taking musical direction from Mr. Strong. “We sat there, practicing, and Barrett said, ‘Do this,’ and, ‘Do that,’ ” Mr. Grew said in an interview here. “It’s a real simple figure, over and over. Barrett showed me what to play and then Berry came by.”

Once the instrumental track was recorded, Mr. Strong said, Janie Bradford, who had written songs with Mr. Gordy for Jackie Wilson, helped on the lyrics. But Mr. Strong said he also contributed words.

On Nov. 12, 1959, Motown’s new song-publishing company, Jobete Music, of which Mr. Gordy was the sole owner, registered “Money (That’s What I Want)” with the United States Copyright Office. That filing, bearing Ms. Bradford’s signature, designated Mr. Strong as an “author of words & music,” with Ms. Bradford also getting a credit for words and Mr. Gordy for words and music.