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We've covered in too much detail how it's some sort of "open season" on Vonage when it comes to VoIP patents. After dealing with ridiculous and expensive patent lawsuits from companies who failed to actually innovate in the same way Vonage did, the company was pressured by Wall Street to quickly settle the various patent lawsuits filed against the company. Of course, rather than settle matters, that simply opened the door for other companies to go searching through their patent portfolios to see if there was anything they could sue Vonage over. Indeed, following those settlements it didn't take long for AT&T to dig up a patent and sue -- which was quickly settled as well. Thought things were over? No such luck. Nortel just showed up last month to sue and it took all of about a week and a half for Vonage to settle that case as well.

The Nortel case is slightly different because Vonage actually already had a patent infringement lawsuit going against Nortel, but it wasn't really initiated by Vonage. Instead, it had been initiated by a patent holding firm that Vonage bought in 2006. The end result of the settlement doesn't involve money changing hands, but just a cross licensing agreement for the patents. So what's the big lesson that Vonage and others have learned from this? It's certainly got nothing to do with innovating. It's to hoard as many patents as possible so that you have your own nuclear stockpile for when someone else sues you. Want to know why the USPTO is overwhelmed? It's not because there aren't enough examiners (as some will claim) or that there aren't enough funds. It's because the way the system now works is that you are supposed to file patents on every tiny little advancement so you can use it to protect yourself against lawsuits from everyone else. That's not about innovation. It's about waste. In the meantime, since it's still open season at Vonage, who's going to be next? There are a ton of other patents in the VoIP space that can surely be used in a lawsuit, right?

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Small and light enough for a shirt pocket, Samsung's Helix YX-M1 is a one-stop audio entertainment center with an XM radio, a digital music player, and room for 50 hours of tunes, but it comes up short on battery life.

This raw work-flow application isn't the Holy Grail many hoped it would be, but Apple Aperture 1.5 could make life easier for photographers who need to cull, retouch, and output large numbers of photographs quickly and efficiently.




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Lucario and the Mystery of Mew, the eighth Pokémon movie, ranks as one of the best features in this popular franchise. Director Kunihiko Yuyama and writer Hideki Sonoda sensibly keep the adventures and threats to a scale that's appropriate for the characters. (The first movies put the world at risk, and while Ash Ketchum is a good kid, he's not someone who can credibly save the planet.) Ash, Brock, Max, and May journey to Cameron Palace for a tournament that celebrates the valor of Prince Aaron, who saved the realm from destruction 1,000 years ago. Ash and Pikachu win, but the mischievous Mew kidnaps Pikachu, whom he's befriended. Prince Aaron's Pokémon companion Lucario awakens from the victor's staff to lead Ash and the gang to the Tree of Beginning, a mountain that is also a living entity. Ash risks his life to rescue Pikachu, proving the depth of their friendship to Lucario. The film includes lots of CG effects, most of which work well with the drawn animation: the earlier Pokémon films tended to look like two different movies spliced together.

The two-disc set also includes The Mastermind of Mirage Pokémon: A 10th Anniversary Special. In this 40-minute adventure, Dr. Yung invites Misty and Ash to take part in a special tournament on his new battle system. Yung creates formidable Mirage Pokémon from raw data, culminating in a super-version of Mewtwo, the powerful psychic Pokémon from the first features. Once again, friendship and kindness triumph over greed and arrogance, although the special ends with the words, "To be continued..." (Unrated, suitable for ages 8 and older: cartoon violence) --Charles Solomon


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A CD is always more compelling when you know it's lifted from the artist's autobiography, and that's certainly the case with Confession, Usher's first record since 2001's 8701. The Atlanta singer's string of hits over the past decade have been decidedly PG-13 rated, almost veering towards teen pop, but he's changed all that on this co-produced offering, which he claims is "the real him." It would be too simplistic to just brand this record a break-up record, chronicling his public split with TLC's Rozonda "Chili" Thomas; it is that, but so much more. It would be more accurate to call this Usher's coming of age record, bridging the gap from boy to man, as he navigates the emotional fallout from the disintegration of his relationship, and the events that led up to it--real or imagined. But other than a guilty conscience, it seems unclear why Usher feels compelled to disgorge his secret life, as he documents his infidelities, transgressions, and emotional perfidy in the album's prodigious twenty one songs, that range from insinuating sultry R&B grooves to the decidedly crunky "Yeah," which pairs an insistent keyboard romp with Lil' Jon's assertive beats, and Ludacris' rather humid rhymes. --Jaan Uhelszki
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Fade to Black is a document of Jay-Z’s self-proclaimed final concert; a grand affair that took place before a sold-out crowd at New York’s Madison Square Garden in November 2003. (But anyone who follows celebrity news knows that Jay-Z was out of retirement and back performing at the Garden just a year later.) Fade to Black is a legitimately powerful record of a truly historic event in the annals of rap. Muttering offhand narration with typical bored, streetwise affect, Jay hails the concert as a momentous occasion for being the first time a hip-hop show was allowed to headline at the Garden.

It’s unlikely that the full impact of the live performances will hit home to viewers unfamiliar with Jay-Z and his Roc-A-Fella Records stable of artists. Another frustration is trying to identify the array of visitors who trade raps on Jay’s stage. Included in the star-studded lineup are Missy Elliott, Foxy Brown, Pharell, Ghostface Killah, Beanie Sigel, Memphis Bleek, and R. Kelly. One unmistakable figure--and we do mean figure--is Jay’s squeeze Beyonce, who raises the temperature and the roof with her skimpy outfit, flowing hair, soulful yowl, and sexed-up dance routine that leaves her boyfriend and the whole of Madison Square Garden slack-jawed with animal desire.

Twenty cameras captured the event, and some of the most powerful sequences are sweeping moves across the swirling, blissed-out masses as they lip sync along in perfect unison with Jay-Z’s complex, profane, quick-witted raps. Less effective are intermittent cutaway segments that show the artist in various studio settings working up beats and rhymes. These amateurish home video breaks may give some insight to Jay’s perfectionism and dedication to his craft, but they detract from the visceral power of the beautifully executed performance footage. --Ted Fry

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On his third studio effort (and fourth overall), 22-year-old R&B/pop star Usher Raymond makes the not-so-simple transition from post-teen heartthrob to love man. He does it with solid songs and a generous helping of charisma and vocal acumen, making this much-delayed collection a hot summer treat. Usher is aided in his musical efforts by renowned hit-makers like the Neptunes, Jimmy Jam and Terry Lewis (who deliver soaring ballads like "Can U Help Me"), Jermaine Dupri, and new jack Edmund Clement who penned the irresistible single "U Remind Me." With catchy tracks and emotive vocals, Usher revs up his sex quotient and unleashes a winning blend of street-honed jams and passionate love songs. --Amy Linden



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