BEFORE TIIE TRADEMARK TRIAL AND APPEAL BOARD
`IN THE UNITED STATES PATENT AND TRADEMARK OFFICE
`
`.............................................................-._x
`
`BALLET TECH FOUNDATION, INC.,
`
`Petitioner,
`
`V.
`
`Cancellation No. 92042019
`
`
`
`
`
`I hereby certify that Ihis correspondence is being deposited with the United States Postal
`Service as f'u's1 class mail in an envelope addressed to: U,S, Patent and Trademark Office,
`Trademark Trial and Appeal Board, PO. Box 1451, Alexandria, VA 22313-1451
`Date:
`
`
`
`11-10 -06
`
`
` Signature:
`
`
`THE JOYCE THEATER FOUNDATION, INC.,
`
`Respondent.
`............................................................."X
`
`NOTICE OF RELIANCE UNDER TBMP § 704.08
`
`(Printed Publications)
`
`Petitioner Ballet Tech Foundation, Inc., by and through counsel, files this Notice of
`
`Reliance pursuant to 37 CFR § 2.122(6) and TBMP § 704.08, to make record of each of the
`
`following articles printed from LEXIS/NEXIS and WESTLAW computerized libraries, each of
`
`which appeared in printed publications available to the general public in libraries or of general
`
`circulation among members of the public or that segment of the public which is relevant to this
`
`proceeding. These articles are identified at Tabs 1-52 hereto for ready reference.
`
`1.
`
`Howard Thompson, ‘Scrooge’ Chosen as Music Hall ’s Christmas Film, N.Y.
`Tmmfiwtawmgaapt‘
`
`Vincent Canby, W. C. Fields and Elaine May — Two ofa Kind?, N.Y. TIMES, mar.
`l4,l971,58,atp.2.
`
`Roger Greenspun, Film: ‘El Topo ’ Emerges, N.Y. TIMES, Nov. 5, 1971, 35, at p. 1.
`
`Japanese Films Come to Elgin, NY. TIMES, July 12, 1973, 46, at p. 1.
`
`80"’ Straight Weekendfor Reggae Film, N.Y. TIMES, Apr. 30, 1976, 58, at p. 1.
`
`1 a
`
`The page numbers referenced at the end of each citation pertain to the attached copies (preceded by the
`ctual page numbers of the printed publications).
`
`NYOI 1265104 V2
`
`

`
`Peter B. Flint, When Movies Were Better Than Ever, N.Y. TIMES, Jul. 30, 1976, 36,
`
`at p. 2.
`
`Judy Klemesrud, Neighbors Assail Elgin ’s Switch to Homosexual Films, N.Y.
`TIMES,MaI. 22, 1977, 48, at p. 1.
`
`Judy Klemesrud, Elgin Cancels Homosexual Films After Chelsea Residents
`Protest, N.Y. TIMES, Mar. 24, 1977, §D, 17, at p. 1.
`
`John Rockwell, The Pop Life, N.Y. TIMES, Apr. 22, 1977, 79 at p. 1.
`
`Local Talent in Punk Rock Shows Its Stufl: N.Y. TIMES, May 16, 1977, 25, at p. 1.
`
`11.
`
`Jennifer Dunning, Elgin Will Be Theaterfor Medium-Sized Troupes, N.Y. TIMES,
`Jan. 29, 1979, § C, 26, at p. 1.
`
`Jennifer Dunning, Plans to Convert Elgin to Dance Theater Falter, NY. TIMES,
`June 4, 1980, § C, 25, at p. 1.
`
`US Helping to Renovate Elgin Theater, NY. TIMES, July 5, 1980, § 1, 9, at p. 1.
`
`Jennifer Dunning, The Eliot Feld Philosophy and How It Works, NY. TIMES, Aug.
`3, 1980, § C, 5, at pp. 2-3.
`
`Jennifer Dunning, Regional Dance Will Have its Day, N.Y. TIMES, Aug. 24, 1980,
`§ 2, 20, at p. 2.
`
`Dance Institutions Get Grants, NY. TIMES, Oct. 16, 1980, 13, at p. 1.
`
`Endowmentfor the Arts Gives Challenge Grants, N.Y. TIMES, Dec. 20, 1980, 17, at
`p. 1.
`
`2 New York Dance Groups Get Major Federal Grants, NY. TIMES, Jan. 15, 1981,
`§ C, 21, at p. 1.
`
`Harold C. Schonberg, New York ’s Share ofArts and Humanities Grants
`Increases, N.Y. TIMES, May 17, 1981, 158, at p. 3.
`
`N.Y. TIMES, June 26, 1981, § B, 1, atp. 1.
`
`Facelift Begins at Renamed Elgin, N.Y. TIMES, June 26, 1981, § C, 26, at p. 1.
`
`Anna Kisselgofff, Creating a Theater Just for Dance, N.Y. TIMES, July 26, 1981, §
`2, 218, at pp. 1-3.
`
`Jennifer Dunning, The Emphasis is on the Avant-Garde, N.Y. TIMES, Aug. 30,
`1981, § 2, 7, at p. 2.
`
`18.
`
`20.
`
`22.
`
`23.
`
`

`
`24.
`
`25.
`
`26.
`
`27.
`
`29.
`
`30.
`
`31.
`
`32.
`
`34.
`
`36.
`
`37.
`
`38.
`
`39.
`
`Dance Theater Opening Delayed to April 12, N.Y. TIMES, Dec. 20, 1981, § 1, 175,
`at p. 1.
`
`Leslie Bennetts, if You ’re Thinking ofLiving in.‘ Chelsea, N.Y. TIMES, May 2,
`1982, § 8, 89, at p. 4.
`
`Jack Anderson, Dance View,' The Feld Christens Its New Home, N.Y. TIMES, May
`30, 1982, § 2, 20, at pp. 1-2.
`
`Mary Campbell, New Theater Opensfor Small Dance Companies, ASSOC. PRESS,
`June 2, 1982, at pp. 1-2.
`
`Jennifer Dunning, Chelsea Program Opens Joyce Theaterfor Dance, N.Y. TIMES,
`June 2, 1982, § C, 23, at pp. 1-2.
`
`Anna Kisselgoff, Dance View; The Feld Presents New Works In Its New Theater,
`N.Y. TIMES, July 4, 1982, § 2, 214, at pp. 1-3.
`
`Anna Kisselgoff, Dance.‘ Eliot Feld Opens Fall Season at The Joyce, N.Y. TIMES,
`Oct. 6, 1982, § C, 26, at pp. 1-2.
`
`Barry Laine, Eliot Feld Prepares to Make Dances For Others Now, N.Y. TIMES,
`Apr. 10, 1983, § 2, 21, at pp. 2-3.
`
`Jennifer Dunning, Feld Benefit to Salute Company and Its Home, N.Y. TIMES, Apr.
`27, 1983, § C, 17, at pp. 1-2.
`
`Art Deco Awards Made, N.Y. TIMES, Jan. 12, 1984, § C, 13, at p. 1.
`
`Sid Smith, Eliot Feld Storms Back — Ballet ’s Bad Boy Has Grown Up, CHI. TRIB.,
`Jan. 6, 1985, 99 (Arts), at p. 1.
`
`Cast Leaves Today to Send NYC Season ’s Greetingsl, HOUST. CHRON., Jan. 29,
`1985, 5 (Houston), at p. 1.
`
`Alan M. Kriegsman, Eliot Feld, Flying Into the Future; New York Troupe Returns
`to Washington, WASH. POST, July 13, 1986, H3, at p. 2.
`
`Stephen Holden, Chelsea: Where the Avant-Garde Rubs Shoulders With Old New
`York; Experimental Works and Classics in Theaters, N.Y. TIMES, Oct. 16, 1987, §
`C, 36, at p. 1.
`
`Andrew L. Yarrow, New Theaters and Clubs Make a ‘Hot ’ Area, N.Y. TIMES,
`Nov. 4, 1988, § C, 31, at p. 1.
`
`Martha Ullman West, Portlander Dances to Barcelona, OREGONIAN, July 11,
`1992, C01, at p. 2.
`
`

`
`40.
`
`41.
`
`42.
`
`43.
`
`44.
`
`45.
`
`46.
`
`47.
`
`48.
`
`49.
`
`50.
`
`51.
`
`52.
`
`Jennifer Dunning, Review/Dance, For the Joyce ’s 10"‘ Birthday, a Hearty Party,
`N.Y. TIMES, June 5,1993,§ 1, 14, at p. 1.
`
`Ray Mark Rinaldi, Old Chestnuts on Dance Card, TIMES UNION (Albany), Sept.
`18,1994, H1, at p. 1.
`
`Maggie Hall, Troupes Bring Varied American Dance Forms, TAMPA TRIB., Jan.
`25, 1995, 1 (BayLife), at p. 1.
`
`Melonee McKinney, Pucci Show to Include Tennessee Ensemble, KNOXVILLE
`NEWS-SENTINEL, Sept. 24, 1995, 3, at p. 2.
`
`Ellen Dunkel, Lifestyle/Previews, Joy ofMovement, Kids Division, RECORD
`(Bergen Cty., N.J.), Feb. 23, 1996, 11 (Lifestyle), at p. 1.
`
`Jennifer Dunning, Joyce Theater Buys Dia Dance Space in SoHo, N.Y. TIMES, Oct.
`24,1996, §C, 16, at p. 2.
`
`Jean Battey Lewis, Ballet Tech Turns Toward the Future, WASH. TIMES, Nov. 30,
`1997, § D, 22, at pp. 1-2.
`
`Lindsey Tanner, Illinois Group Exalts Irish Dance, Paved the Wayfor Popularity
`of ‘Riverdance ’, sr. LOUIS POST-DISPATCH, July 23, 1998, 3, at p. 1.
`
`Maria Fernandez, Meet Manhattan ’s Smartest Video Clerk, N.Y. POST, Aug. 16,
`1998, 31, at p. 1.
`
`Clive Barnes, Dance ‘s Different Bag, N.Y. POST, Jan. 8, 1999, 68, at p. 1.
`
`Bob Hicks, James at the Joyce; James Canfield and Oregon Ballet Theatre Put
`the Moves on One ofNew York’s Hottest Spots, OREGONIAN, Aug. 3, 1999, B01,
`at p. 1.
`
`Jane Vranish, Dance Preview, Flamenco Group Dramatizes Famous Bullfighter ’s
`Life, Death, PITT. POST-GAZETTE, Oct. 9, 2000, B-1, at p. 2.
`
`Charles R. Valenza, Speaking Out, Performing Arts Center, ROCH. DEMOCRAT
`CHRON. (New York), Jan. 19, 2001, 11A, at p. 2.
`
`These articles will be relied on and are relevant to these proceedings to show exposure of
`
`the public to articles describing the formation, operation and/or reputation of The Joyce Theater
`
`and The Elgin Theater.
`
`Dated: November _l_Q, 2006
`
`

`
`Respectfully submitted,
`
`KENYON & KENYON LLP
`
`;7?AM"}r/.C.,..Wp
`
`Jonathan D. Reichman
`
`Robert H. Cameron
`
`KENYON & KENYON LLP
`
`One Broadway
`New York, NY 10004-1007
`Tel.: (212) 425 * 7200
`Fax: (212) 425 - 5288
`
`William M. Merone
`
`KENYON & KENYON LLP
`
`1500 K Street, N.W.
`Washington, DC 20005
`Tel.: (202) 220 -— 4200
`Fax: (202) 220 — 4201
`
`Counselfor Petitioner,
`Ballet Tech Foundation
`
`

`
`CERTIFICATE OF SERVICE
`
`I hereby certify that a copy of the above NOTICE OF RELIANCE UNDER TBMP §
`
`704.08 was served, via first-class mail, postage prepaid, on Attorneys for Respondent, as
`
`follows:
`
`Jordan A. LaVine, Esq.
`Flaster/Greenberg P.C.
`Eight Penn Center, 15th Floor
`JFK Boulevard
`
`Philadelphia, PA 19103
`
`This/A day of November, 2006.
`
`'1lip K. Lum
`
`

`
`EXHIBIT 1
`
`

`
`
`
`
`
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`
`

`
`EXHIBIT 2
`
`

`
`W. C. Fields and Elaine
`May—Two of a
`
`sy vmcewr CANBY
`
`KEN "My Little Chlckadee”
`opened here in 19-10. Frank S.
`Nugom.
`then the motion pic-
`ture critic of The New York
`'rlmesendemauwho,onmnstooca—
`stone, displayed both wit and: sense of
`erltleel proportion. was reminded of e
`Noel coward line about
`two empty
`-paper bags helahorlng each other. ap-
`parently In reference to the store of the
`fllm.w.c.1'lelduaudMaeWest.1~£ugent
`then switched metaphors. "mo film,"
`he nld. "la :1:
`low t‘ula'moat of th
`tlme.inthequ1lilyotitehumor.ln the
`blond treatment ofits players . . . in the
`calibreotthe nudleoitseemnlntended
`irplense ml In the generally had odor _
`it exudes.‘
`.
`James Agte. writing in Time Moga-
`flde. culled "Never Give A sucloer An
`Even Break" (1941), which may be the
`most perfectly free movie farce ever
`made.uwellartltequlntessenllelw.C.
`Fields comedy. “small beer for those
`who think that ever: a Field: plctum
`should have a modicum of dlreetlon.”
`Dds Ferguson, of The New Republic.
`who was also a Fields tan (he wrote
`that Fields “moved mountains until they
`fell on him. and then brushed hlmselt
`on‘ and looked around for more”). sold
`of the same film: "there is oobodywho
`makes had oornedleo more funny than
`W. C. Flslrle--who ls responsible for
`maldo3lhernhedinthefl.rstplaoe."
`_Any invdeptll study of movie e;1hen1era
`would, I lhiolt. after having almost in-
`stantaneously exhausted the possibilities
`of tho love-hate implications Involved in
`Any two critter‘ low opinions of each
`otl1er.moreontoanexaminetionoI'
`tho kind of daily and weekly crlhlrzisrn
`that
`is
`reouired to render decisive.
`
`in fact.
`sweeping verdicts when none.
`is possible. By all acadelnlx: (and thus
`presumably rational) standards, most
`W. C. l-‘lelds movies were not tenihly
`good. They were ramshackle in stmc~
`ture and nothing was so important that
`it couldn't be lnternoated for a marvel-
`ously superfluous (at least to terms of
`‘plot. never in terms of character) nude»
`vllle routlne. which might or mlglrtlnot
`be funny. Merry gags weren't funny, and
`enmdherofother-swerevodatlonson
`lamiliar routines he'd used belore, oc-
`caoionally to better effect. It's easy to
`understand why Agee would cry out in
`despair-averthelaclrof eveuurnodienrn
`of direction (although I don't lmow whet
`Agee would call
`the authority that
`I-‘lelds obviooslyuarclsed over his films. _
`especially his Universal fil1n8,"tf it was
`not direction). 83 all ratinnal standards.
`the critter were right: in a completely
`irrational way, however.
`the Fields
`mm: are classics.
`'
`At the tlme Agoe and Nugent and
`Ferguson were wt-lt1ne._wlth more sf-
`tectlnn and sadness than taught. Fields
`urasalillulivo.eedhIstr'1endnndad-
`mlrerst£ld11'tw'anthimtohe1u5te
`greutdawmthaywantedbimmbe a
`euperhectorundldsfilms oobotho
`lelndofwnrksodartthat. llkaum'eli-
`able friends. who also are geniuses. do
`not demand explanation or tolerance.
`as long as gin and blood and mixed-
`thropysouglrttomahetlrelroaurtlyway
`tl1rooglrFrolds'sveins, there was always
`the polsibllity that he would make a
`great film. Indeed. he came very close
`tomaldngitln"'l‘heBanIDlck"(194U).
`although The 'l'hnes'ol tendon had the
`nerve to criticize the movie by saylng
`that!?telds“is-magnlficemlyindependent
`otthemateriulwhlchls tolsredupnn
`ltlrn.” thus managing to Ignore the that
`that he had created the material. and
`l.hot”l'lteBankDlclt"hadbeendlreetod
`layoneofhlsclnsesnsooolstaidwartl
`C1lne,endwrlttenbynone otherthan
`Mahalme Kanenovet.
`Except for 1113 last fllnm, made he-
`tvreerr 1943 end 1945. in which fields
`appeared as almost a guest star ("rules
`of Manhannn."
`“Follow The Boys,”
`“Song of the Open Road” and “Sensa-
`tion: of 1945'‘). Field: was never lode-
`pendent of his memorial.
`(I-Ila muoorlal
`was. however. so independent of the
`rest. of "Tales ol Manhattan” that his
`
`running rtme.)
`
`etefiovfisrkfla-ts
`DupyrlaI1lDThoNIwYa1:Tlrnoo
`Oflfl1a'llyr.I.IHshedMard'rI4.19Tl
`
`BALLET TECH EXHIBIT 2
`NOTICE OF asarnrace Uhllfilt ISIEPQ mus
`IP:Im‘.n§ fietsllzrrtlrtmg
`532:: Tech FDLll'.C1'. l::. 71:. V.
`*1 J
`e
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`C». ,:e ellnn ha. 32‘r:-1.‘-.313
`
`

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`BALLET TECH EXHIBIT 2
`Mensa (IF IIEJMEQE LUEDER TEMP 5 mm
`lflsiuiw Pafilisafiona)
`:1'etTe1:h Found 1: '22‘, 11:. u.
`7‘: Jaw: T.’-::t:r -‘cu.’
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`ESE-123‘! 3
`I:
`
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`
`

`
`EXHIBIT 3
`
`

`
`BALLET TECH EXHIBIT 3
`NOTICE OF RELIANCE UNDER TEMP § 104.08
`IPIIIIIBCI Publications)
`Eerie: Tetn Fwndmxon, inc. v.
`The Joyce Theater Foundation, Inc.
`Cancellation No. 92042019
`
`flm: ‘E1 TOpOI'Emerge$_;
`
`
`
`In mmd. me Idmhring re-
`Hiewalkcgtllmm disanmn ir;
`2 ~30
`comprul:
`dapth." But It Is mreg;earIg-
`
`Slflflld that Jodofomky.
`morathanthetut of us. If
`on .
`?)gettl:er knows what he is
`He has made Ills film’ 1
`Wnstem cf IDf'L1'll1d Inn has
`put In more
`tun;
`
`maybeZfigdean oI ‘gs: Wild
`
`Btu_1cl1."
`
`II have com-
`
`‘ u"}%.
`au: mesa»
`self
`P0111 It is a pan of
`IIJJE? that controls the-nyia
`f
`Tops"--to the and mu ‘
`the idea of castration or Im.
`moIatlnn.. or
`rIacompos'itIn_‘n.
`or wltltcnr Imror you will,
`looms In
`r rharythe fact
`(butnot
`feeling) and thus
`supports the essentially Inkl-
`tectuni ambitluns of the film.
`About Jndomwsky a_g
`;
`fflmmher I am not sure how
`I feel; "I! Tupi)" is | gnod
`deal more inmestl:1g'antl.u
`'goodduIIei.I
`up an 13
`W5
`I an all my
`most In
`an Manda luui
`led me to ‘be Iowa. It is wad:
`better than the same dtrea-
`tor’: "Fonda and Lis.“ but
`vastiy illferiar Io A1'fl.IlII'5'
`"Viva La Muurteg" a work
`In flu um Indium at sur-
`real vloience ‘to which all
`alhgr work: in thlx'u-aditioa
`mun slnnd cnmp:rI:on.'
`Perhaps
`the nmbivaleneu ’
`best erpltsstd b
`Ruth: "maak prevIe¥ra:1l::,
`Alba the fi‘I1n nu ended.’
`stood In)’ mid allouted.-"Vin
`1‘-1 ’ha=Il"—find:n3’
`if
`iIIlII5I'IIi¢1l 'uaHIreri“
`binmo
`uthfa
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