Subject: [removed] Digest V01 #182
From: <[removed]@[removed]>
Date: 6/9/2001 7:31 AM

To: <[removed]@[removed];

    ------------------------------

                          The Old-Time Radio Digest!
                             Volume 01 : Issue 182
                       A Part of the [removed]!
                               ISSN: 1533-9289

                               Today's Topics:

     You're on the Monitor beacon         [otrbuff@[removed]                   ]
     Copyrights and public domain         ["Peter Vollmann" <vollmann@hawaiian]
     Copyright                            ["George Tirebiter" <tirebiter2@hotm]
     AN OPEN LETTER TO CARL AMARI AND THE [Jack Harris <jack@[removed]]
     The copyright Website                [Elmer Standish <elmer_standish@telu]
     copyright questions                  ["J. Randolph Cox" <cox@[removed]]
     Reply to Walden                      [hal stone <dualxtwo@[removed];    ]
     For Fans of Skip Homeier             [hal stone <dualxtwo@[removed];    ]
     Re:newspaper listings                [Eric Cooper <ejcooper2001@[removed];]
     Nit spelled backwards is Tin, for wh ["Stephen A Kallis, Jr." <skallisjr@]
     OTR MP3  AUDIO TWEAKING              ["stephen jansen" <stephenjansen@ema]
     The Bono Amendment                   ["A. Joseph Ross" <lawyer@[removed].]
     Copyrights again                     ["A. Joseph Ross" <lawyer@[removed].]
     It doesn't happen [removed]           [JackBenny@[removed]                  ]
     Re: Tomorrow 1949                    [Michael Biel <mbiel@[removed];       ]

    ------------------------------

    Date: Sat, 9 Jun 2001 00:01:54 -0400
    From: otrbuff@[removed]
    To: [removed]@[removed]
    Subject:  You're on the Monitor beacon

    I'm indebted to Stewart Wright for pointing me to a web site that anyone
    who was enthralled by the durable Monitor weekend series that ran on NBC
    weekends from 1955-74 will find absolutely fascinating:
    [removed].

    Snippets from many of the shows are available there along with photos,
    history and lots of anecdotes.  It's a Monitor-lover's paradise!  Enjoy!

    Jim Cox

    ------------------------------

    Date: Sat, 9 Jun 2001 00:05:57 -0400
    From: "Peter Vollmann" <vollmann@[removed];
    To: "[removed] Digest" <[removed]@[removed];
    Subject:  Copyrights and public domain

    Let me add my two cents' worth on the public domain debate. I used to sell
    and rent out public domain film in 16 and 35 millimeter format. There was a
    book that recorded every film's copyright registration and extension filed
    with the Library of Congress. There is, unfortunately, no such book on radio
    programs.

    As a film dealer, this is how I dealt with "cease and desist" threats. I
    replied that, to the best of my knowledge, the item was in public domain.
    Then, in case I was mistaken, I asked for proof of ownership (of the
    copyright). Whether it was a large company or a small one, most never
    replied and I never heard from them again. If someone threatened to sue
    without providing proof of ownership, I contacted the Library of Congress,
    which, for a small feee, will do a copyright search for you. After about 4
    weeks you have a written statement from a government organization about that
    particular item's status of copyright. If they find no copyright has been
    registered, or as in most cases when we're talikng about old material, no
    copyright has been renewed, you can in good conscience go on selling or in
    any other way using the material.

    In the film industry, there were a lot of shady characters claiming to have
    rights when they had none. You just should not be frightened by these con
    men. There were a few who were using loop holes in the law. A large "film
    distributor" bought the underlying rights of public domain film, [removed] the
    short story that the script was based on. That way he could legally claim
    that his rights were involved. That guy made a lot of money. He bought the
    rights to old stories for practically pennies and was able to control rights
    to famous motion pictures that way.

    Now in the case of Carl Amari, I am sure he owns some of his shows outright.
    And I am equally sure that he made "arrangements" with people who owned
    transcription discs by buying the "right" to duplicate the material. Which
    means he does not own exclusive rights, although he may claim to.

    Ask him to provide proof of copyright ownership to a show that you choose
    from the list of shows he claims to have rights to. If he does not do so,
    and you want to be extra sure, contact the Library of Congress.

    Concerning Jack Benny, I don't think he ever "owned" his show. The sponsor
    may have owned it, or the network, or maybe the advertising agency, but
    surely not Jack Benny.(Elizabeth, Michael, if I'm wrong please correct me).
    But everybody knows that Jack kept a transcription disc of each and every
    show he did. Buying or copying these discs from Joan Benny does not give you
    exclusive rights to the material.

    Please understand that it is not in Carl Amari's interest to list shows he
    offers as "public domain". It would make it too easy for other dealers to
    just copy the material and sell it. But beware of claims unless there is
    some proof provided.

    Peter from Hawaii
    vollmann@[removed]

    ------------------------------

    Date: Sat, 9 Jun 2001 00:05:56 -0400
    From: "George Tirebiter" <tirebiter2@[removed];
    To: [removed]@[removed]
    Subject:  Copyright

    Hello All,

    I hesitiate to put my 2 cents in on this just as the brouhaha on this issue
    seems to be dying down, but I have seen two very worthwhile ideas on this
    subject that might well be combined.

    First, OTR Dealers need a trade organization. Second, someone needs to do
    copyright research on specific OTR shows.  So how about OTR dealers coming
    together to form a trade association that will pay someone to do the
    necessary research.  I take it that researching copyrights is a somewhat
    expensive business, but if the cost was shared by a number of OTR dealers
    the burden wouldn't fall too heavily on anyone. I furthur suggest that the
    results of said research be posted on the web for all to see.

    George

    ------------------------------

    Date: Sat, 9 Jun 2001 00:08:00 -0400
    From: Jack Harris <jack@[removed];
    To: [removed]@[removed]
    Subject:  AN OPEN LETTER TO CARL AMARI AND THE GROUP

    Mr. Amari,

    I know exactly where you are coming from with the pd thing,  I have spent
    years researching what is in PD as far as films.  I have a rather large
    book that I wouldn't sell for any amount of money.  I can name numerous
    films that are pd that would surprise I am sure even you unless you also
    researched that.  I have several films that I have sold to numerous TV
    stations for airing.  Do I have the [removed] are pd but the
    station doesn't know that unless they did the homework.

      I am now going to EXPOSE what you are doing.

    You sir evidently did your homework as to what was in the PD along with
    obtaining rights to some series.  If you claimed the rights to ALL the
    shows you sell that would probably be a falsity as I am sure some are
    PD.  Therefore if you told what you actually had the rights to this
    wouldn't stop someone from getting a clean copy of a pd show from you and
    selling it. Therefore I DON'T BLAME YOU for keeping your information a
    secret.  I also don't blame you for wanting to protect yourself.

    If I were a dealer and wanted to sell OTR I would do the homework as you
    say you have to find out if it is in the PD or not.  This I believe is what
    you are suggesting and I have to agree your non disclosure is just plain
    good business sense.  If someone wants to sell shows they should make sure
    it is pd.  If not they should find out about licensing.

    However I will say that people will continue to trade shows that they
    recorded off the air or that they have the ets on.  I believe you would
    have a hard time with that in court just like Disney did against Sony.  I
    also believe if you are threatening folks for trading this will really turn
    them off to you and your business and only hurt it.  I will trade as I have
    done for 35 years.  I will collect mp3's.  However if I really want a first
    rate copy I will buy it from you but only when the price is cheap enough,
    pd or not!   <G>...

    regards

    Jack Harris

    for dive videos, computers and astronomy
    visit [removed]

    ------------------------------

    Date: Sat, 9 Jun 2001 00:08:02 -0400
    From: Elmer Standish <elmer_standish@[removed];
    To: Old Time Radio Digest <[removed]@[removed];
    Subject:  The copyright Website

    [removed]
    This site may be worth a visit if you are iterested in copyrights
    which seem to take a lot of space on the digest
    these days.

    ===> ELMER

    ------------------------------

    Date: Sat, 9 Jun 2001 00:10:57 -0400
    From: "J. Randolph Cox" <cox@[removed];
    To: <[removed]@[removed];
    Subject:  copyright questions

    If the question of copyrights were as simple as some posters seem to
    indicate, we wouldn't need lawyers.

    I have some stories about the ways that Street & Smith tried to extend the
    copyrights of some of their properties in the past, but they do not deal
    with radio. I will tell one though. I actually benefitted from a Conde Nast
    Publications law suit in the 1960s. A French film company was making "Nick
    Carter" movies, Conde Nast (which had merged with Street & Smith by then)
    sued the film company. Part of their case was to prove they had kept the
    name "Nick Carter" before the public since 1886 and someone was assigned to
    compile a list of all of the stories -- and radio scripts -- about Nick
    Carter. I visited the New York offices about that time as part of a research
    project of my own on the history of the Nick Carter stories. I was given
    photocopies of the lists that had been compiled and those formed the basis
    of the next stage of my own research.

    As for how to research the ownership of rights, you will probably have to
    get in touch with the Office of Copyright in Washington, DC, which has the
    records. I have been there on two occasions on two different projects.

    Randy Cox

    ------------------------------

    Date: Sat, 9 Jun 2001 00:11:01 -0400
    From: hal stone <dualxtwo@[removed];
    To: <[removed]@[removed];
    Subject:  Reply to Walden

    Walden Hughes Asked;

>     Hal, when you where traveling in a play, did you make local radio
>     appearances and act outs a sc?ne from the play, in order to help sell
>     tickets at the theater?

    Hi Walden. How have you been? Before answering your question, I have one for
    you. Did you ever get a chance to find your copy of "The Nichol's Family".
    You promised me a copy, remember?

    As for your question, the answer is "Yes" and "No".
    I can recall making promotional appearances on Radio when I was in "Life
    With Father" and "Tomorrow the World". They were primarily interview shows,
    in major cities, and only if the Play had a long run in that particular
    town. To my knowledge, they never required acting out scenes from the play.

    Remember, I can't speak with a great deal of certainty about the events, but
    recall that they did occur. I can give you a few assumptions as to how they
    would come about.

    If the Play's producer had any savvy, each production, (Broadway or Touring)
    would have a resident (or travelling) Publicity/Press agent. It was his job
    to get some advance Advertising in place before the Play came to town.
    Usually Newspapers.  They'd use rave reviews from prior cities, and "bang
    the drum" to get advance ticket sales. (Not sure about radio Ads because I
    was never around to hear any, but it's possible I suppose).

    The reason that I think the Radio Interviews occurred primarily in the
    larger cities (Radio Markets), was because there was more than one station
    on the air in the larger cities, fierce competition between them, and a need
    to fill air time with a variety of programming material. Some stations would
    contact the Play's PR people, hungry for someone to interview it it was a
    hit Play, or the Publicity guy would be contacting them to get the word out
    about the show if it was a "Dog".

    Generally, as a child actor, The interviewer would ask a bunch of routine
    questions. Some dumb, some platitudes, nothing scripted, (Perhaps our PR guy
    gave the Radio Personality some help with background info about the
    performer that might be scheduled for an interview that day). Obviously, the
    main intent was to talk about the play, the part we played, and drum up
    interest and promote ticket sales that way.

    It's amazing (at least to me) that I can still remember the name and face of
    the "life With Father" press agent. (Heck, I was 8 years old, and that makes
    it 62 years ago). it was Wally Fried. I guess he stands out in my mind
    because he was such a familiar sight around the Theatre every performance,
    and during the many personal appearances he arranged for us. Not just radio,
    but probably "Supermarket Openings" as well. (Just kidding). We didn't have
    Supermarkets back then :) All I remember is that he was always friendly,
    helpful, and stood on his head to make sure we had a good time, and were
    treated "Royally" when we had to show up for a Publicity stunt. Some Press
    Agents were pushy and Obnixious. Wally was a great guy.

    I don't recall if it was in our contracts that we had to do these Publicity
    things, like in the multi page contracts of today. I think Stage actors knew
    which side their bread was buttered on. The better the ticket sales, the
    longer the play would run, and the longer they would have a job and steady
    income. Plus, if the PR guy was a nice guy, you'd be more inclined to help
    him out. (Do you suppose that's why Wally was so nice to everyone? Naw! I
    prefer to think of him as totally sincere.)

    Hal(Harlan)Stone
    Jughead

    ------------------------------

    Date: Sat, 9 Jun 2001 00:11:19 -0400
    From: hal stone <dualxtwo@[removed];
    To: <[removed]@[removed];
    Subject:  For Fans of Skip Homeier

    There have been many recent postings about Paul McGrath, Tomorrow the World,
    and Skip Homeier. Somehow or other, the "snuck in" between reams of stuff
    about Copyrights.

    (I'm staying the heck out of that one. Primarily because I don't know enough
    about the issue to make any kind of intelligent response). But if I had to
    take a position, I would suggest to Carl Amari that it's only fair that he
    Identify the Rights that he owns, instead of making sweeping claims. (I hate
    myself for weakening and sticking my unsolicited two cents into the pot). I
    just said I was going to stay out of it. Oh well sue me!

    But!!!! How about a happy change of Subject.

    Concerning my old Child Actor friend Skip Homeier Old, in the sense that
    it was in the "Olden" days that we worked together in Radio, and old in the
    sense that we are both about the same age.

    I was concerned when I readin the postings about his declining to grant
    interviews. It didn't make sense, and didn't sound like him. So I decided to
    call him and get the scoop straight from the source.

    He and I both retired from the business about 20 years ago. (Me from
    Directing, Skip from acting), and I had been out of touch with him for these
    past 20 years. (I'm ashamed to admit). Consequently, I missed out on some
    fun conversations. He's a delightful guy, with a quick wit and sharp sense
    of humor.

    We made up for it today, spending over an hour on the phone catching up on
    our respective lives, and bringing each other up to date. The last time we
    worked together was when I Directed him in some TV commercials shortly
    before he and I both retired.

    We share a very similar philosophy of life. To wit! We feel that what we
    were involved in as performers back then, is ancient history. We got on with
    our lives, and thoroughly enjoy retirement. And frankly, don't miss the
    business, the BS, the hoopla, and being in the limelight. He, quite frankly,
    has been enjoying himself kicking back, traveling, living between a place in
    Mexico and his home in California, hanging out with his fun and charming
    wife Della, and prefers living in the "Today", not the "Past". Which is one
    of the reasons he has declined interviews. He doesn't think it was all that
    big a deal. Also, it seems he was also burned a few times in the past by
    people taking advantage of his Celebrity status. (I know that can happen,
    particularly in the Motion Picture business, and TV).

    I tried to convey to him that all of you OTR fans are a totally different
    breed. That you all have an incredibly intense interest in the OTR hobby,
    and the affection that you lavish on us former OTR Performers is most
    gratifying. Believe me, Radio was a totally different atmosphere than that
    of Film and TV performing. I tried to convince him that he really should
    differentiate between them, and that as a Radio Actor, he should come join
    the fun that OTR Conventions provide, as well as getting involved in the
    Digest, or Lois's OTR Chatroom. But he feels that his Radio days were fairly
    limited, and once he went to the coast to Play "EMIL" (in the film version
    of Tomorrow the World), he did very little Radio in LA after that, and
    concentrated on a Movie/TV career. Westerns, War Movies, etc., and
    ultimately, starring in a detective series on TV.

    I will keep in touch with him, now that we are re-united, and will try to
    convince him to at least subscribe to the Digest. I told him I will excerpt
    all the recent posting's about him that appeared in the digest, E-Mail them
    to him, and see if I can't get him at least minimally involved.

    After all, there are only a few of us "Last of the Mohegan'"s left, and
    there is safety in numbers. I'm also trying to get Bob Hastings and Ben
    Cooper involved with the Digest. I want to share with them the love for OTR
    that you all display with Digest postings, and how "appreciated" you make us
    former "performers" feel. Although "Ancient History" it's nice to be
    remembered. We just don't happen to "live" in the past, or dwell on our
    former lives.

    The only reason I considered writing a book on the subject was because so
    many of you encouraged me. Not because I felt the world was breathlessly
    awaiting my Life's History, but mainly to help keep feeding your interest in
    that unique Medium, and the way things were back then.

    Hal(Harlan)Stone

    ------------------------------

    Date: Sat, 9 Jun 2001 00:11:18 -0400
    From: Eric Cooper <ejcooper2001@[removed];
    To: [removed]@[removed]
    Subject:  Re:newspaper listings

    A question was asked as to how newspapers listed shows in the old days.
    Practices varied widely, depending on how much space it took up and whether
    the paper wanted to avoid mention of a sponsor (most did). Thus the Jello
    Program Starring Jack Benny would be listed variously as "7:00-Jack Benny"
    or "7:00 Jack Benny with guests" or maybe "7:00 Jack Benny-comedy" . Soap
    Operas were usually listed something like "Ma Perkins-sketch" or "Ma
    Perkins-serial". Perhaps the biggest newspapers would provide more
    information as to who were the special guests on the various comedy,musical
    or variety shows. I have seen some early to mid thirties listings that went
    something like this:" 9:00-Rudy Vallee with Gracie Allen, Chas Mc Carthy,
    others"

    As I said, newspapers usually did not mention the sponsors name, such as
    "The Johnson's Wax Program" or "The Texaco Star Theater", because to do so
    constituted at least one line of free advertising for those products

    Eric Cooper

    ------------------------------

    Date: Sat, 9 Jun 2001 09:29:30 -0400
    From: "Stephen A Kallis, Jr." <skallisjr@[removed];
    To: [removed]@[removed]
    Subject:  Nit spelled backwards is Tin, for whatever
     that's worth

    Richard Pratz notes,

> >     I can't resist nit picking. (What is a "nit" anyway?)<<

    A nit is the egg of a parasitic insect, such as that of a louse, or the
    young insect from such an egg.  The term relates to looking for extremely
    tiny things, as one can see, say, monkeys do in mutual grooming.  In
    terms of current usage, it's meaning is on the order of going after the
    tiniest minutiae.

    Relating this to OTR, I'd previously made mention to the fact that the
    sound effect of a rifle shot "always" included a ricochet.  My statement
    was in error, and an instance was cited where ricochets were optional.
    Now in every show I'd heard when I was growing up, a ricochet was
    included in the sound of a rifle shot; however, in some shows this wasn't
    the case.  Finding that tiny detail was akin to a grooming monkey finding
    a near-microscopic nit; hence, the term.  [[removed]: I'm not excusing that I
    was in error; I was.  The illustration is that it's a tiny item, not some
    more basic detail such as the fact that many recorded shows like The Lone
    Ranger, started with some sort of statement that they'd been
    transcribed.]

    Stephen A. Kallis, Jr.

    ------------------------------

    Date: Sat, 9 Jun 2001 09:29:32 -0400
    From: "stephen jansen" <stephenjansen@[removed];
    To: <[removed]@[removed];
    Subject:  OTR MP3  AUDIO TWEAKING

         Since the audio quality of OTR mp3's depends on a lot of variables,
    including the original source material, the bitrate/sampling  rate, and the
    (in)experience of the person encoding them, listening to a full cd can be an
    ear-tiring affair.  I do a majority of my listening in the car, where my
    equalization choices are very limited.  Some episodes are incredibly boomy
    and bassy, others are all tinny and hissy, not to mention all of the
    different levels of LOUDNESS that come up each time a new episode starts.
    I've been playing around with trying to improve the audio quality on my OTR
    mp3's and have come up with a pretty cool method.  It involves the "Total
    Recorder" utility (a $12 shareware program for Windows).
         My little system works like this:
         Start at your home pc.
         First, play your original mp3 file (I use Winamp).  Pull up the
    equalizer and begin to experiment with the settings to improve the way the
    mp3 sounds - if things start to sound distorted, lower the overall level
    (the slider on the far left of the equalizer).  Remember, lowering/cutting
    frequencies is preferable to raising them.  For example, if you'd like to
    hear more clarity in the vocal range (more treble) try dropping the bass
    levels first.  The more each frequency is raised, the more likely the basic
    sound will distort.  Also remember that it takes several seconds for the
    changes you've made to actually occur.
         Once you've got the audio "improved" (more so that the "junk" has been
    lessened) and the overall level is high but not distorting the sound, pull
    up the "Total Recorder".  Choose the mp3 settings you'd like it to record at
    (32kbs/22kHz mono is pretty much standard for OTR - not great sound, but not
    terrible either).  Now when you play your original mp3, the Total Recorder
    will record it with your EQ and level settings intact.  PLUS, if your
    original mp3 was on your hard drive, the Total Recorder can record/process
    the whole thing at high speed.  A half-hour show took me 6 or 7 minutes to
    do on my computer.  With the original mp3 on a cd in the cdr-drive, I can
    only run the process in real-time (half-hour show takes a half-hour to
    re-record).  Your computer and cdr drive may do things at different rates
    than mine.
         Granted, we are RE-RECORDING, so there is some data loss involved.
    However, for the shows that need some heavy EQ or level adjustment, I think
    that this works very well.  My Rio Volt (portable mp3 cd player - which I
    ADORE!) only boosts the EQ (for the time being, until they upgrade the
    firmware to include EQ cuts, as well).  So far, I've had very good results
    with this.
         This really does work well!  Give it a try, and let's hear what you
    think.

    ------------------------------

    Date: Sat, 9 Jun 2001 09:29:34 -0400
    From: "A. Joseph Ross" <lawyer@[removed];
    To: [removed]@[removed]
    Subject:  The Bono Amendment

>     	Date: Wed, 6 Jun 2001 22:34:40 -0400
>     From: SanctumOTR@[removed]

>     It would have been nice if Fran
>     Striker's family had been aware of such provisions and had been able to
>     reacquire the LONE RANGER copyright or a major portion of it.

    I'm not sure they could have done so.  Was Fran Striker a free-lance
    writer or was he an employee of Trendle or WXYZ?  If he was an employee,
    his work would be a work made for hire and may not be recoverable.

     A. Joseph Ross, [removed]                        [removed]
     15 Court Square                     lawyer@[removed]
     Boston, MA 02108-2503      [removed]~lawyer/

    ------------------------------

    Date: Sat, 9 Jun 2001 09:29:37 -0400
    From: "A. Joseph Ross" <lawyer@[removed];
    To: [removed]@[removed]
    Subject:  Copyrights again

>     Date: Thu, 7 Jun 2001 15:51:15 -0400
>     From: lawrence albert <albertlarry@[removed];

>                I can well understand your ire at the recent spate of
>     controversy regarding your "rights" to OTR programs. However, sir you
>     ask a great deal. You offer a blanket statement that you have the legal
>     rights to many OTR shows, and with few exceptions you decline to name
>     said shows.

    It seems to me that the issue isn't that Carl Amari won't tell us all the
    shows he owns.  There's really no reason why he should do that.  The real
    question is what happens when someone says to him, "I want to distribute
    copies of the Pinch Penny Program.  Do you own the rights?"

    In that circumstance, I would think that Mr. Amari would tell such a
    person whether he owns the rights.  Being cryptic about it would not be in
    anyone's interest.  I don't think I've ever heard that Mr. Amari insists
    on waiting until someone actually infringes one of his copyrights before
    acting.  If he really were saying, "You can't publish my shows, but I
    won't tell you what they are," that would be impractical and unfair.  But
    if someone has actual plans to do a project, I'm sure Mr. Amari would
    answer a specific question.

    Mr. Amari is not obligated to reveal to anyone the documentation that he
    has the rights to something.  By the same token, anyone who intends to
    sell OTR material has the obligation to research the rights, as Mr. Amari
    has done.  Mr. Amari is right when he says you have to do your homework.

>     Date: Thu, 7 Jun 2001 15:51:13 -0400
>     From: "Owens Pomeroy" <opomeroy@[removed];

>     COPYRIGHT LOOPHOLE

>       Correct me, again if I am wrong, as it has been sometime since I read the
>     copyright law, but -there are two words "for profit" in there that would
>     exempt from this law, non-profit OTR Clubs, and private individuals when
>     recording OTR Shows

    Nope.  Non-profit organizations are not exempt from the copyright laws.
    Copying and distributing copyrighted material, without permission, is
    illegal, whether or not you are paid for it.

    If is is done for our own

>     personal use than I would seem to think that would feel safe in doing so.

    Copying for personal use is somewhat protected, but as soon as you start
    distributing copies, you start to violate the law.

     A. Joseph Ross, [removed]                        [removed]
     15 Court Square                     lawyer@[removed]
     Boston, MA 02108-2503      [removed]~lawyer/

    ------------------------------

    Date: Sat, 9 Jun 2001 09:29:40 -0400
    From: JackBenny@[removed]
    To: [removed]@[removed]
    Subject:  It doesn't happen [removed]

    ...but I think I have the opportunity [removed]*GASP*...disagree with Elizabeth.
    There is a document called the Catalog of Copyright Entries, which was issued
    on a monthly or semi-annual basis.  It lists all the works for which a
    copyright was granted during that period.  Major libraries may have a copy
    available for review, and volumes go back to 1909.  They also list renewals.
    Thus it should be possible to research copyrights without having to go to the
    Library of Congress.

    ------------------------------

    Date: Sat, 9 Jun 2001 09:29:42 -0400
    From: Michael Biel <mbiel@[removed];
    To: [removed]@[removed]
    Subject:  Re: Tomorrow 1949

    From: "Welsa" <welsa@[removed];

>     ... It appears to be a radio show and it is called Tomorrow 1949.
>     This particular episode has as its sole guest, Fred Allen.  He
>     attempts to define humor and give examples of various types of humor.
>     It is a solo performance by him, and it appears to be before a studio
>     audience.  Anyone ever heard of this show?  Have any history or
>     details about?  Thanks much.   Ted Meland

    I think you might find that the program is really "Living 1949."  I have
    that Fred Allen episode, but don't have the date right here. "Living
    19--" ran on NBC from 1948 until perhaps 1951.  Ben Grauer or Ken
    Banghart were the usual narrators, and Robert Warren was the announcer.

    Michael Biel  mbiel@[removed]

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    End of [removed] Digest V01 Issue #182
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