B-ROLL OF JOE BIDEN NEWS CONFERENCE ON PLAGIARISM ALLEGATIONS.

A MARK MULLER CS VO ON PLAGIARISM

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Footage of Ed Sheeran participating in interviews at several red carpet events plays as the singer is sued for plagiarizing a song in 2016. PLEASE NOTE News anchor and reporter image and audio, along with any commercial production excerpts, are for reference purposes only and are not clearable and cannot be used within your project.

Host Lipsyte begins live on set interview with Governor Cuomo. (INTERVIEW INSERTED): Robert Lipsyte: I'm Robert Lipsyte for our first new show of the new year and the new decade, a conversation with Governor Mario Cuomo of New York, one of the most fascinating and complex personalities in American politics. Tomorrow, he'll deliver his State of the State address. I spoke with him at his New York City Office at the World Trade Center. Governor Cuomo back in the 80s, that was last week, your friend Roger Ailes said that Mario Cuomo was the greatest demagogue that the Democratic Party had ever produced. Now indulge us in 1990. If indeed, this were true, what would you do to move people and in what direction? Mario Cuomo: Well, if Roger Ailes called me a demagogue? (Lipsyte: Well, no, no, no, if if it's true,) yeah. Well, first of all, is I should comment on the fact that I'm flattered for roger ailes to call me a demagogue is like Joe DiMaggio telling me I was a great centerfielder, you know, so I'll take it in that in that spirit. I don't know what he would mean by demagogue exactly if he if he meant that It gave you some efficacy with people by projection. If you're asking me what I would do with that kind of power, I think there's one message that the people of the state, the people, the city, the people of the country, the people of the world need to understand, I've been talking about it for 15 years of public life, even before. And it's the idea of family, the idea of interconnectedness, the idea of interdependence. Those are words that were too clumsy for use by politicians until Gorbachev who uses them all the time, I think the central idea that we need to know we need to understand politically is that we are all connected. You need to worry about those kids in the street, who are now addicted to crack. Even though your children are not addicted to crack, you have a connection with them, not just morally and spiritually, by way of moral obligation, but because you need them for your workforce, because this society will not make it if that larger segment of the society is in trouble. So that notion of connection and interdependence, that's the important concept. And recently in the end of the 80s, some very bright people, conservatives, former Secretary of State Schultz, and Milton Friedman the great economist, Bill Buckley, Judge Robert Suite, he also had legalized drugs. This wasn't the liberals of the 60s. These are conservatives, what are they really saying? They're saying, hey, look, my kids aren't going to be on the drugs. Those are those other kids in the street, a lot of black, white, Hispanic, a lot of poor kids, we can't afford to handle a problem. While they're missing, first of all, if that's what they're doing, I think it's callous. Number two, it ignores your interconnectedness. You can't escape the obligation of dealing with these children by pretending that they're not going to hurt you. by their own disorientation they will so if I had the power to move, I would move people to understand interconnectedness. Robert Lipsyte: but how does that work? I mean, it's a sweet bullet. You know, care. No, man is an island. We've heard this but no, it's not. What do you do? Mario Cuomo: No it's not just care. There are two political motivations. The first is the noble motivation. Do it out of love. You ought to take care of the poor people, because they're your brothers and sisters. Well, that's nice. And I believe in that. The other motivation is you got to take care of them because you need to, for your own best interest. You need to save Mexico from its debt, not because you love Mexicans, but because you can't afford to have them come pouring across your borders. You need to make of Africa a viable economic unit. Why? Because you need them for markets. You need to deal with the Soviet Union and the Chinese because your interests are connected. What do you do? First, you get people to understand that, that you must educate young people. Lipsyte; Do you think people are beginning t to see this? the grand challenge Mario Cuomo: Thanks to Gorbachev, not thanks to the United States because we've spent eight years trying to teach our people just the opposite. We've had federal governments that tried saying to our people, look, every man is an island, do your own thing. Don't worry about those other people, if they wind up in the street as homeless or otherwise, especially Reagan it was a kind of plagiarism, they deserve to be there. And there's no connection between you and them. What we offer you as Americans is opportunity and opportunity is individual. And if you go and make it by being a great television star, terrific. And the guy who doesn't he's either a bum or unlucky, and that's God's fault. That's what we've been teaching people. Robert Lipsyte: I mean, what I hear you saying, in a strange sort of way is all those years of being, you know, ah bludgeoned by the idea of the evil empire. And then we have to hear from the evil empire, which way we should go to the human beings. Mario Cuomo: Well, that's right. That's about right. I think, evil empire was an easier notion to sell and to belief 40 years ago. I think, if if there was any credibility to it, you know, that that faded a long time ago. I think a kind of interesting thing happened is Soviet Union, we went to 1987. And I'm no world traveler, by any means. But we went to Leningrad to Moscow. Matilda and I, we came back after six days, and I said, this thing is over at a press conference, he said, the Cold War is over. And Gorbachev is a very smart guy. He's not a great pusher, he didn't push the Soviet people. He's not even leading them. He's following them. There are so far in front. They're, they're running away as fast as they can from Communism, toward our way of life because of television. And it goes to basketball, you play basketball in this country for a month, you go back, you're never going to be happy waiting on line for a potato let alone a bottle of vodka. And I said this is, you know, this, this military approach is just ridiculous. They're smart enough to know that they're going to go broke building tanks. They'll starve while they're doing it. And that's happening to us, too. Paul Kennedy was exactly right. So it's kind of ironic. Yeah, we've learned a lot from them. Robert Lipsyte: you think people always need an enemy of some sort. I mean, the war on drugs seems to have been structured not in a humanistic way about worrying about those kids. But in a kind of a military way.

US Senator John Walsh says war college master's degree has been revoked because of plagiarism.

Cloned businessmen, ready for world domination.

EMERSON SITS BACK DOWN AND ITERVIEW CONTINUES: Murray Lerner Very good. And did you feel you or why did you feel why did you use Mussorgsky and other classical composers coupled with this technique? Rather than composing? Or in a sense it was composing your own music, but you were building on existing compositions. What was that all about? Keith Emerson It all started with using bits of pieces of Bach in in improvisations, kind of the same coming back to Brubeck where he and Paul Desmond use counterpoint. In their improvisation they decided to go back to CounterPoint and the true master as I always said, with Johann Sebastian Bach and incorporating that in improvisations, but after his people will say to me though, that's great, but does that piece you stuck in the middle of there? You know, can you not play more of that? So that's that's how I got around to doing it. It's not it's not original, because there was the Jacques Loussier Trio who were doing play Bach they were jazzing up Bach and the Swingle singers. It goes way back to even the 40s were the big bands, you know, they were doing a lot of jazzing up the classics that along of course with B. Bumble and the Stingers you know that within that rocker which is that one. Anyway Murray Lerner Did you feel that the I went I was about to say was I don't think anybody did it for pieces Pictures at an Exhibition did they? Keith Emerson No, no. But it is it has been the most recorded piece of classical music. There's an acoustic guitar version. Obviously, the piano version was the first an orchestration that's probably a mariachi band somewhere in Mexico playing it. Murray Lerner When do you feel that your audiences really appreciate the musical quality? Are they just hypnotized by the showmanship? Keith Emerson Well, it's got back to me that a lot of people were introduced to classical music as a consequence of ELPs adaptations and arrangements and it's really good to know that we're, you know, we're most of the well with all the composers which I have arranged and adapted for ELP and other issues. Going back to Leonard Bernstein, Aaron Copland. Alberto Ginastera. All of them have what when they, when they were alive, said that, how much they appreciated? You know, my adaptation. Murray Lerner That must have been really satisfying. Keith Emerson Yes. Yes it was Murray Lerner You were probably worried about that if they if you've met them. Keith Emerson Yeah. Well, I won't tell you the Leonard Bernstein story, because that's in my book. You read that one. Did you Murray Lerner Was the Bartok family a little upset. Keith Emerson Well, you that was very early in the beginning that Mrs. Bartok came by and said that so we changed everything so that they all get their fair credit on that. But Murray Lerner It was just a question of credit. Keith Emerson Yeah, yes. Murray Lerner Because I'm hoping to get that and even have to go to visit the family to get the rights. You want. You do get the rights to use it in the film. I'm hoping to get that even if I have to go to Hungary. Keith Emerson Oh. That's right. Because the Lego barbero the barbarian. No, I think I think that's, that's cool. Now, Murray Lerner what was the difference in what they objected to it first, and what you changed was, was it just the credit that you changed? Or was it the music? Keith Emerson No, they weren't worried about that. They just, you know, wanted the you know, the right. Credit really? Murray Lerner Well, did you feel that you were, maybe this is pretentious that you were part of revolutionising music by what you were doing. I mean, there was a whole group of you, you know, Hendrix, the way the who that was both, you know, showmanship and music, not necessarily classical music. And that was reaching an audience in a different way. And you were bringing a whole new element into into it with the Moog and synthesizers that hadn't been done before. Did you feel consciously that you needed to revolutionize or change music? Or was it just what you happen to feel at the time. Keith Emerson I just like to play music, which I enjoyed listening to and I enjoyed playing. And apart from that, you know, I mean, I don't want to put too much attention on the amount of adaptations which I've done in my musical career. Because I, I like to think, and I like to hope others think as well that my own compositions are my own compositions. This, there's no form of plagiarism in there at all, it's completely mine inspiration. But you know, all all musicians are inspired by somebody, you know, which, and they, they go on and they do their own thing after that. I think I chose classical music as a starting point. Mainly because that was my heritage. Coming from Europe. I would have loved to have been, why and I've played jazz but you know, I'm not on Oscar Peterson and I'm, I don't regard myself as being an Oscar Horowitz on the piano. But what I do do is a combination of all of that now out of all that comes my own style of music. Murray Lerner I like it very much. I have a funny question to throw at you. What is music? Keith Emerson Okay, you're asking some good ones anything which delights the soul. But mind you poetry can do the same thing. Poetry can be music, having written a book you know, I found that the writing different paragraphs, one has to lead into the other and it's almost like a segue, a musical segue and says there's a strong similarity between writing words and writing music. That it all has to make sense as to tie together and it has to be appealing and memorable. Whether you make it memorable through repetition there is another thing I think there's too much repetition in today's music you can just take like a you know a short motif and just keep repeating him. People seem perfectly happy but Murray Lerner well, but music doesn't use words. Keith Emerson I think my nose is going it's getting better. very hot here. Murray Lerner Oh, we can stop a minute but maybe just this one question then we'll stop using doesn't use words and has a great power of a great number of people. Did you feel that power over people when you were performing? For instance, the who filled Pete Townsend feels that quite strongly, and he wonders what it's all about. Did you wonder yourself why there was so many devotees that loved? To hear your big crowds? Like like the Isle of Wight? That was fantastic, wasn't it? Doesn't it? Isn't it? A weird phenomenon? Keith Emerson Yeah, well, for me, there was no, that didn't come into it. It wasn't a question of like power over the audience how many it was then that supplied you with the general inner Jen generated type of atmosphere? Sometimes if it didn't work, and you didn't have the right audience, then you would have you'd have to work hard. So you know, No, I never, never looked at it that way. It was, it was very satisfying when things went well. Murray Lerner Let's stop for a minute and see if I have any more questions. Keith Emerson Yeah, okay.

Shia LaBeouf offers cloudy plagiarism apology

FTG FOR DAN HARRIS CS VO ABOUT PLAGIARISM CHARGES / HOW OPAL METHA GOT KISSED, GOT WILD AND GOT A LIFE / HARVARD SOPHOMORE KAAVYA VISWANATHAN IS ACCUSED OF PLAGIARIZING TWO BOOKS BY MEGAN MCCAFFERTY / EXT OF BORDERS BOOKSHOP

B-ROLL OF JOE BIDEN DEFENDING HIMSELF WITH THE PRESS ABOUT THE CONTROVERSY OVER HIM PLAGIARIZING CAMPAIGN SPEECHES.

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FTG FOR DAN HARRIS CS VO ABOUT PLAGIARISM CHARGES / HOW OPAL METHA GOT KISSED, GOT WILD AND GOT A LIFE / HARVARD SOPHOMORE KAAVYA VISWANATHAN IS ACCUSED OF PLAGIARIZING TWO BOOKS BY MEGAN MCCAFFERTY / EXT OF BORDERS BOOKSHOP / INTV W/ RACHEL DEAHL, "PUBLISHERS WEEKLY" ON BOOK DEALS / BOOK INDUSTRY

CIVIL RIGHTS LEADERS AND HISTORIANS SATURDAY DEFENDED THE LATE MARTIN LUTHER KING JR.'S PLACE IN HISTORY DESPITE ALLEGATIONS THE SLAIN CIVIL RIGHTS LEADER PLAGIARIZED DURING HIS ACADEMIC CAREER.``IT'S INEVITABLE WITH EVERY HERO THAT, AS TIME GOES BY, PEOPLE PUT IN PROPER PERSPECTIVE THEIR HUMANNESS AND THAT'S WHAT'S HAPPENING TO DR. KING,'' SAID THE REV. JOSEPH LOWERY, PRESIDENT OF THE KING-FOUNDED SOUTHERN CHRISTIAN LEADERSHIP CONFERENCE. ``DR. KING NEVER CLAIMED HE WAS GOD.''THE REVELATIONS ABOUT KING'S WRITINGS, PUBLISHED FRIDAY IN THE WALL STREET JOURNAL AND SUBJECT OF A NEWS CONFERENCE AT STANFORD UNIVERSITYV,WERE BASED ON THE FINDINGS OF AN EDITORIAL BOARD HEADED BY STANFORD HISTORIAN AND CIVIL RIGHTS ACTIVIST CLAYBORNE CARSON.DIVIDED BY HIS ALLEGIANCE TO KING AND TO UPHOLD THE TRUTH, CARSON SAID KING, THE WINNER OF THE 1964 NOBEL PEACE PRIZE, REPEATEDLY USED WORDS AND IDEAS FROM OTHER SCHOLARS IN HIS DISSERTATION AND OTHER ACADEMIC WORKS.

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THE UNIVERSITY OF TENNESSEE IS NOW CONDUCTING IT'S OWN INVESTIGATION INTO WHETHER FOOTBALL PLAYERS COMMITTED ACADEMIC FRAUD.

UNIVERSITY OF VIRGINIA PROFESSOR BLOOMFIELD INTERVIEW ON PLAGIARISM UNIVERSITY OF VIRGINIA CAMPUS AND CLASS BEAUTIES SOFTWARE DEMO TAPE 2 OF 2

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ARE YOU WONDERING WHETHER MELANIA TRUMP DID -- IN FACT -- PLAGIARIZE FROM MICHELLE OBAMA"S SPEECH IN 2008? HAVE A LISTEN AND DECIDE FOR YOURSELF...

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OC: "and your willingness to work for them"

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TRUMP MELANIA RNC OBAMA ELECTION