Subject: [removed] Digest V01 #179
From: <[removed]@[removed]>
Date: 6/7/2001 4:12 PM

To: <[removed]@[removed];

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

                          The Old-Time Radio Digest!
                             Volume 01 : Issue 179
                       A Part of the [removed]!
                               ISSN: 1533-9289

                               Today's Topics:

     Re: Copyrights . . . and THE SHADOW  [SanctumOTR@[removed]                 ]
     In Response to Carl Amari            [lawrence albert <albertlarry@yahoo.]
     BEULAH SHOW/COPYRIGHT "LOOPHOLE"     ["Owens Pomeroy" <opomeroy@[removed]; ]
     Beulah                               [John Henley <jhenley@[removed]]
     Re: Copyright issues- 2 KEY question [John <JOHN007@[removed];         ]
     Carl Amari                           ["mike ray" <mikeray42@[removed];    ]
     Radio Documentaries, RSI             ["Doug Leary" <dleary@[removed];    ]
     RSI  Rights                          [OTRChris@[removed]                   ]
     Re: MICHAEL JACKSON, THE BEATLES, AN [snopes <snopes@[removed];         ]
     Addressing [removed] Kallis and the afore ["[removed] Wolfe" <rjrmemorabilia@yahoo.]

    ______________________________________________________________________

        ADMINISTRIVIA:

           I was rather hoping this thread would have played itself
           out by now. At the risk of sounding like an ol'
           stick-in-the-mud, might it be possible to close it down
           in the next day or so? I'm not saying we shouldn't discuss
           it, since it does affect our hobby, but maybe most of what
           can be said already has been, eh?

    ______________________________________________________________________

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

    Date: Thu, 7 Jun 2001 15:51:17 -0400
    From: SanctumOTR@[removed]
    To: [removed]@[removed]
    Subject:  Re: Copyrights . . . and THE SHADOW

    In a message dated 6/7/01 9:57:46 AM, Michael Biel writes:

>     In all of these instances it either involved a contractual arrangement,
>     or as in the case of Siegel and Shuster, it was a retroactive deal
>     because DC was starting to get bad press about the creators of Superman
>     being ill, out of work, and destitute.  That might not have been totally
>     true, but think of the hundreds of millions that have been made from
>     their creation.  If they had made a better deal they could have had a
>     pension of $500,000 a year instead of $50,000.  If they had held onto
>     their copyright the company might now be called Time/Seigel & Shuster
>     instead of Time/Warner.

    ***True, but Siegel and Shuster did sign away their claims to all future
    rights sometime around 1948 for a payment of (I believe) $150,000.  I was
    working at DC Comics in the 1970s when the public relations nightmare began,
    and the press was not mentioning the latter payment, just that Siegel and
    Shuster had signed away all rights for $130 in 1938.  DC actually treated Sieg
    el & Shuster, Bob Kane, William Moulton Marston, Shelly Mayer and other
    creators far better than Street & Smith, George Trendle, Marvel Comics and
    other companies.  Siegel & Shuster severed their relationship with DC because
    they tried to break a valid contract so they could publish Superman
    themselves or take the property to other publishers . . . and lost.  Bob Kane
    played ball with DC and became a millionaire.  As I recall, he signed a
    7-year contract renewal in the early 1970s for over a million dollars.

    BTW, the company is now called AOL Time Warner.***

>     But NOBODY is still alive 50 years after their death no matter how long
>     they live!!!!!!!!!!!!!!!!!

    ***Yes, but their spouses or children often are.  I'm glad that Dame Jean
    Conan Doyle was able to share in the revenues from her father's great
    creation and that some of the money was going to the creator's daughter and
    not solely to publishers and corporations.  And I'm glad that copyrights are
    properties that can be left to family members.  Do you think that stock, real
    estate, etc. should be transferable to offspring but that immediate family
    members (spouses, children) shouldn't be able to profit from a father's or
    mother's literary/entertainment creations during their lifetimes.  And in the
    cases of long-lived authors like Walter Gibson (who died at age 88) and
    Norman Corwin (still alive in his 90s) and stars like Bob Hope and Milton
    Berle, the former 56-year maximum copyright term wouldn't have even seen them
    through their own lifetimes.***

    <<Re:  Joan Benny and the kids of George and Gracie, Edgar Bergen, etc.
    getting something for the commercial use of their parents' [removed];>

>     Well so would we, but life isn't always fair.  Didn't most of the other
>     performers on those shows also have kids?  (Dennis Day sure did!!!!!)
>     Why shouldn't they also get something for the commercial use of THEIR
>     parents' talents????????????

    ***Possibly because he didn't own THE JACK BENNY PROGRAM and his contract
    didn't call for it . . . like a writer who signs a work-for-hire contract
    (who sold his rights because it was a piece of property he could sell . . .
    and I know of lots of writers who took more upfront money to sell their
    rights . . . and one DC writer/artist who took more upfront money in the 70s
    rather than take a lessor amount with royalties).  Let's remember that Dennis
    Day was PAID (quite handsomely) by Jack Benny, and that he also appeared on
    Jack's TV show and presumably agreed to a union contract that called for no
    residules or a linited number.  Again, my argument was against Napster
    selling downloads of shows for more than $2/per half hour without royalties
    going to anyone.***

>     You yourself mention a bunch of other writers who contributed to WOTW
>     and are not entitled to any royalties.  It THAT fair?  No, but it is
>     KOCH who got the copyright.

    ***Actually, I think it IS FAIR, because associate producer/director Paul
    Stewart and especially producer John Houseman (who hired Koch) were most
    likely fully aware of Howard Koch's contract when the did their rewrites on
    his script.  And they were both being paid for the work they did (as
    producers).  There is a saying that success has a thousand fathers but
    failure is a bastard.  Everyone rushes in to try and claim a piece of ET or
    STAR WARS but no one cares much until something becomes a runaway success.
    John Houseman also wrote a fair amount of the CITIZEN KANE screenplay but
    willingly declined credit for it.  The MERCURY THEATRE contracts called for
    Koch to receive the copyright . . . and John Houseman certainly had no
    argument with such.***

>     ALL of the performers you mentioned were paid for performing on the
>     broadcasts.  That includes Benny, Burns & Allen, Bergen, Berle, and
>     Hope.

    ***BUT the stars also OWNED their series and their names, which was why Jack
    Benny, Edgar Bergen, Gosden and Correll and Burns & Allen were able to sell
    their shows to CBS.  Dennis Day did not own THE JACK BENNY PROGRAM, nor did
    Jerry Colonna own THE BOB HOPE SHOW.  And their personally-negotiated or
    union contracts most likely did not require residual payments.  I doubt if
    Dennis Day or Phil Harris or Rochester believed they owned THE JACK BENNY
    PROGRAM or were entitled to more than the TV residuals they received.  And
    they were certainly alive when THE BEST OF THE JACK BENNY PROGRAM aired radio
    reruns in the late 1950s.***

>     So why should we feel sorry for the children of Benny, Burns & Allen,
>     Bergen, and Berle, and Hope?

    ***Are you saying that the still-living Milton Berle and Bob Hope shouldn't
    receive compensation from Napster for programs they own if Napster is
    COLLECTING MONEY for their downloaded distribution of same . . . that Napster
    should be able to collect in excess of $2/half hour and pocket the whole
    amount?.  This isn't the same as simple trading going on between collectors ,
    , . and I've never heard of RSI trying to prevent not-for-profit trades.***

>     If Charles Michelson had not been skunked out of his rights
>     to The Shadow by the predecessor to RSI, Radio Yesteryear, his company
>     might still be a major force.

    ***Charles Michelson NEVER owned the rights to THE SHADOW.  He leased them
    from Conde Nast, the copyright owner.  (And BTW, 200 transcription discs were
    shipped from Conde Nast's warehouses to Michelson in 1963 and apparently
    never returned, even though the contracts--which I have copies of--specified
    that CM had to return the discs.   Dave Goldin once told me that he purchased
    a large number of original SHADOW transcription discs that Michelson had
    apparently sold to a scrap aluminum dealer in Greenwich Village (and had
    those discs not been recovered by Goldin, all that would survive of many of
    those episodes would be the butchered/canned music SHADOWS Michelson
    syndicated in the 60s and 70s.)  Conde Nast eventually became unhappy with
    the deal and chose not to renew the agreement, licensing the rights to sell
    recordings first to Radio Yesteryear and later to Great American Audio (who
    has leased those rights for most of the last decade).

    And Radio Yesteryear was NOT the predecessor of Radio Spirits.  The two compan
    ies were competitors until quite recently when Audio Books/Mediabay purchased
    both companies as well as Adventures in Cassettes.

    One last thing, Carl Amari is president of Radio Spirits but he is no longer
    the owner since Audio Books/Mediabay purchased the company a couple years
    back.  I don't know if the recent cease-and-desist orders are Carl's personal
    doings or if they are the work of the new parent company.  Much of the venum
    on this list seems to be directed at Carl personally.  Should AOL Time
    Warner's lawyers suddenly start going after Superman collectors, I would not
    automatically assume that the decision was made by DC Comics president
    Jenette Kahn . . . or villify her without knowing all the facts.  Such
    decisions may have been made by executives of the parent company that owns DC
    Comics . . . or by the new parent company of Radio Spirits.

    Standard disclaimer:  The above comments are made by ANTHONY TOLLIN as a
    freelance writer and not as a representative of RSI.  Also, I probably know
    no more about the corporate operations of RSI and its parent company than
    anyone on this list.  I have never even visited RSI's office or met any of
    their employees face to face (other than Carl a decade ago at FOTR
    conventions).***

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

    Date: Thu, 7 Jun 2001 15:51:15 -0400
    From: lawrence albert <albertlarry@[removed];
    To: [removed]@[removed]
    Subject:  In Response to Carl Amari

    Mr. Amari:
               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. You , and I'm not putting
    this too strongly, demand that all dealer simply take
    your word that what you say is [removed] ask you sir why
    should they? Who are you that your are not to be
    doubted? You may be due all that you say you are, but
    we have only your word on that. It simply won't do.
              I have nothing personally againist Radio
    Spirits. I have spent a good deal of money on their
    products and will continue to do so, but I wonder
    about a company that would think it is above be
    questioned. Where is your proof Mr. Amari? Provide it
    sir and end this nonsense. Yes you will always have
    dishonest dealers to cope with. This will be so no
    matter what, since the key word in American business
    is "GREED". Rise above it sir, be direct and forth
    coming. To be blunt, you want co-operation, then you
    must meet your detractors half way. Your word alone is
    not going to be enough. The public has been lied to
    too many times by American big business
                    Lawrence Albert

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

    Date: Thu, 7 Jun 2001 15:51:13 -0400
    From: "Owens Pomeroy" <opomeroy@[removed];
    To: [removed]@[removed]
    Subject:  BEULAH SHOW/COPYRIGHT "LOOPHOLE"

    In answer to the posting about the Beulah Show: The main character ws
    portrayed by a Caucasian, Marlin Hurt. who played two parts: Beulah and
    "her" Boss, "Mistah, Marlin". He also played her boyfriend Bill, "It's Bill
    Baby, no pain, no strain!"  To which she answered "Love dat man!"  The theme
    song was sung by Hurt (as Beulah):

    "GOT DE WORLD IN A JUG LOG,
      GOT DE STOPPER IN MY HAND!"

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

    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 (air checks) from radio stations and of copying scripts,
    as long as they do not make any monetary gain from such a venture, which I
    believe this is what the "flack" is all about - people selling OTR shows and
      making money off of copyrighted material.  If is is done for our own
    personal use than I would seem to think that would feel safe in doing so.

      And a big thanks to [removed] Carl Amari, for finally speaking his side on the
    controversy, whether you agree with him or not. After all,that is what this
    list is for!

    Owens Pomeroy

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

    Date: Thu, 7 Jun 2001 16:04:12 -0400
    From: John Henley <jhenley@[removed];
    To: [removed]@[removed]
    Subject:  Beulah

    What with the continuing saga of copyrights (and now here
    comes Carl to ensure that discussion will go on for several
    more days), no one tackled this.

    Michael Berger, speaking of Marlin Hurt, posted:

>     it wasn't a black woman speaking, but a white male and now I wonder:
>     as  clever as he was, how come there was no room for an authentic
>     black  actress,  like Lilian Randolph, who later played Beulah in
>     her own show, no?

    With all due respect, how does one really answer a question
    like this, which seems to come from what's been called a
    "present-ist" perspective?
    1)  Times were different then.
    2)  The types of performing skills required of actors in
    those years (with vaudeville only a handful of years gone)
    were quite different from what we expect of actors now.
    3)  One of the foremost of said performing skills was dialect,
    perhaps not as prevalent as it had been between the wars, but
    still very much in evidence.  Marlin Hurt was an experienced
    dialectician.
    3) With society structured the way it was, not many producers
    or sponsors were willing to cast black actresses.  Some, to be
    sure, but not many.
    4) Beulah was one of the most riotous characters in 1940s radio,
    almost always sending the audience into hilarious turmoil, and so
    much of that came from the incongruity of the part and the actor.
    If a real black actress had been cast, would Beulah the character
    have blasted onto the scene and become instantly memorable the
    way "she" did?  Surely Marlin Hurt's over-the-top attack had
    almost everything to do with Beulah's impact, with the rest of
    it being Don Quinn's dialogue.

    One could go on like that.
    They may seem to be facile answers, but not I think moreso
    than the original question.

    Before I go, just to address the Lillian Randolph matter:
    Recall that Marlin Hurt died only 15 months after the character
    was spun off into its own series.
    The next incarnation, with another white man, Bob Corley, lasted
    not more than a year.

    By that time, 1947, about all of our fighting men & women were
    back home, having been through hell, and the world had learned
    just what would have been in store if the Nazis had prevailed.
    Many historians and sociologists, it is my impression, believe
    there was a sea change in attitude here about some things; so it might
    (tenuously) follow that producers and sponsors found themselves
    more willing to offer the role to a female, and a black one.

    Dunning claims that it was only when Lillian Randolph took the
    role that Beulah ceased being a "novelty" character and instead
    became one of "some lasting power."  I'm not in a position to judge
    that statement, but this time the show lasted for seven years, albeit
    (surprisingly, to me) as a five-a-week 15-minute show.

    Gosden and Correll may have influenced the casting decision as well,
    since they'd hired Ernestine Wade and Amanda Randolph when
    A&A became a 30-min. sitcom in 1943.  I don't know if that was
    the actual precedent, but it was surely hard to miss.

    John Henley
    jhenley@[removed]
    ph  (512) 495-4112
    fax (512) 495-4296

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

    Date: Thu, 7 Jun 2001 16:04:10 -0400
    From: John <JOHN007@[removed];
    To: [removed]@[removed]
    Subject:  Re: Copyright issues- 2 KEY questions

> > >     RSI controls the rights to a vast majority of old-time radio series

    I'd like to thank Mr. Amari for responding in this forum.  No doubt
    there will be a flurry of response.

    However, may I respectfully submit that there are two legitimate issues
    of concern to most of us here which Mr. Amari didn't seem to address,
    and hasn't really addressed in the past (unless I missed it).

    These are--

    RSI's position on:

    (1) -- the *free* trading of (possibly RSI licensed) OTR amongst trading
    groups/non-profit OTR libraries/OTR clubs, etc.

    (I believe it has been said in the past by Mr. Amari that a little
    trading among personal friends is okay by RSI.   But the question
    remains:  what is RSI's position concerning organized
    groups/clubs/libraries  etc., which *trade* free OTR, or loan out tapes,
    on a "no value gained" or non-profit basis?   That is--  not dealers who
    sell, and not two friends swapping tapes--  but organized "clubs" who do
    *free* trading amongst members.)

    --and--

    (2) -- the *free* posting/downloading of (possibly RSI licensed) OTR
    from the internet  (do you consider this to be sales?  do you treat this
    differently from individual trading, and/or from the "clubs" as above,
    due to the greater potential audience?)

    (I say "possibly RSI licensed" bearing in mind the fact that most OTR
    clubs --and certainly individuals-- do not have the resources to conduct
    copyright searches and wade through those legal waters, and therefore
    will not know for sure [with the exception of those shows that Mr. Amari
    has specifically mentioned] whether their material is liscensed or not.

    To tell these clubs and individuals to "do their own research" is to
    tell them to close down by default, since they cannot afford to do their
    own research.    And to tell them to "cease and desist" RSI material
    without specifying which shows constitute that RSI material is likewise
    to close them down entirely, by default.    I'm not talking dealers
    here, mind you, just:   a) clubs/groups   and b) internet webmasters
    offering shows for free download.)

    I think the forthright and frank answers to these two questions (and
    accompanying issues) would go a long way toward establishing in the
    minds of the OTR community exactly where RSI stands in regard to the
    trading and collecting activities that are important to many of us
    here.  And maybe put some minds to rest, as well.

    I realize, Mr. Amari, that you cannot devote time to onging re-hashes of
    all of this, but I believe these two questions are the key ones for many
    here, given the fact that RSI claims the rights to "a vast majority" of
    OTR shows.  I'm sure we all would be grateful for your input on them.

    Thanks and Happy Listening!
    John

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

    Date: Thu, 7 Jun 2001 16:15:39 -0400
    From: "mike ray" <mikeray42@[removed];
    To: [removed]@[removed]
    Subject:  Carl Amari

    Hi Gang:
    Well I must say that Carl Amari's letter was
    very refreshing. To say the least he hit a home
    run. I sure liked his analogy about the guy who
    parties vs. the guy who does his home work.
    That kind of said it all. Don't you think?
    Let's face it gang, once and for all. If you are
    selling any OTR program that is not in the public
    domain, then you are violating someone's copyrights,
    and breaking the law. And of course this begs the
    question, "how do I know if it's in the public domain?"
    DO YOUR HOMEWORK!  I sure don't want to sound
    like a prude but, I sure would hate to think that
    something I was doing was Illegal.

    Carl has demonstrated what is great about this
    country. If you have desire, and if you are determined
    to work hard, play by the rules, and don't break the
    law, you can go far, no matter what your age. That's
    what our Republic is all about.

    I must say that I'm very proud of Carl and what his
    team is doing. They truly are keeping this thing we
    love so much alive and readily accessible to all of us,
    everywhere. And most importantly, they are doing it
    with [removed] make money the old fashioned way,
    "they earn it."  A whole new generation will discover
    OTR. Mainly because of his efforts. Bravo Carl.
    Keep it rolling.

    Best regards,
    Mike Ray

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

    Date: Thu, 7 Jun 2001 17:01:40 -0400
    From: "Doug Leary" <dleary@[removed];
    To: <[removed]@[removed];
    Subject:  Radio Documentaries, RSI

    In response to the query about old radio documentaries:

    [removed] has a few. Most are fairly
    contemporary, but there is one about Yiddish radio with lots of clips,
    another made the day after Pearl Harbor was attacked, and a 1945 doc about
    the life of news photographer Arthur "Weegee" Fellig.

    [removed] belongs to a guy with a number
    of documentaries in his trading list.

    In response to Anthony Tollin, who writes:
    "...Perhaps a better focus to this discussion is not which shows RSI has
    rights to, but that Napster has NOT paid for rights to any of them. Why not
    hold Napster up to the same standards listers are asking of RSI?..."

    Well, Napster promotes free exchange of material, regardless of copyright,
    and they don't charge for the material. They don't even provide the
    material, the users do. Napster only provides a more convenient trading
    mechanism than magnetic tape and the Postal Service, which OTR collectors
    have been using to infringe on copyrights for decades. RSI seems to want to
    suppress free exchange and charge for everything, regardless of copyright.
    The OTR community is obviously divided on specific issues involving rights,
    but I think most of us agree that public domain material should not be
    monopolized by someone who simply makes threats.

    Amari's specific rights, not his rhetoric, determine which shows he can and
    can't censor. His lengthy letter to the digest only lends weight to the
    theory that his rhetoric is mostly smoke. If people are still infringing on
    Duffy's Tavern etc in spite of his warnings, then he should be in court
    recovering his losses instead of just whining about it.

    Cheers,
    Doug Leary

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

    Date: Thu, 7 Jun 2001 17:01:29 -0400
    From: OTRChris@[removed]
    To: <[removed]@[removed];
    Subject:  RSI  Rights

    I do not think that the concern of Radio Spirits is that  we know what they
    do own they simply do not want it widely know what they DO NOT own.

    I  would bet my next issue that is the RSI  real concern.

    Does anyone on the list know the details of Jack Benny .
    A show in which RSI claims the rights? I mean didn't CBS originally buy the
    right from Benny in 1949 . What about after that ? And what about the pre-CBS
    shows?

    It would be interesting to know.

    -Chris

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

    Date: Thu, 7 Jun 2001 17:15:22 -0400
    From: snopes <snopes@[removed];
    To: [removed]@[removed]
    Subject:  Re: MICHAEL JACKSON, THE BEATLES, AND OTR????

>     Or Michael Jackson?  I thought it was Jackson who owned rights to the
>     earlier Beatles recordings.

    See [removed]

     - snopes

        Urban Legends Reference Pages --> [removed]

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

    Date: Thu, 7 Jun 2001 17:35:15 -0400
    From: "[removed] Wolfe" <rjrmemorabilia@[removed];
    To: [removed]@[removed]
    Subject:  Addressing [removed] Kallis and the afore mentioned

    1. He DID NOT react to specific shows. He used a
    yellow highlighter and marked 90 percent of a 12 page
    flyer. I still have it but scanning it would be
    useless because it's in yellow. Other shows he marked
    included "Boston Blackie," "Nick Carter," "My Friend
    Irma," "Bill Stern" and practically everything else on
    it that had been in general circulation for over 20
    years at least and the flyer was mailed out 10 years
    ago and what it all means is that the afore
    mentioned's threats are nothing new at all. By the way
    Nila Mack was very much alive back then. Do you thin
    the afore mentioned ever sent her any residuals for
    the "Let's Pretend" shows he sold? After all she
    wrote, directed or narrated the major majority of the
    shows.
     2. He never sent a cease and desist letter. He flat
    out demanded that I show him my sales figures so he
    could tell me how he claimed that I owed him for
    material that had in circulation since I was in high
    school. Do you think if "K-Mart" demanded "Wal-Mart"
    to hand over their sales figues they'd do it? What
    about "Books-A-Millon?" Do you think if "Barnes And
    Noble" demanded to see their sales figues that they
    would voluntarily show them to "Barnes And Noble?"
    Hell no and neither will I. "RJR's" sales are "RJR's"
    business and nobody else's. (And remeber, I still have
    the letter and both my brothers, my mother and father
    all saw it and the yellow highlighted flyer.)
                                          3. The old radio
    stars were overjoyed that people remembered them and
    their work. 95% of the celebrities aren't even aware
    that these shows even exist. Bob Feller, Jane Wyatt,
    Florence Halop and Martha Scott didn't even know the
    shows were preserved. After reading Carol Burnett's
    autobiography I discovered that she loved "Suspense"
    and already knew she loved Jimmy Stewart. I copied
    "Mission Completed" with Mr. Stewart from "Suspense"
    along with some episodes of the "Sixshooter," "Murder
    In B Flat" on "Command Performance" and a few others.
    She had no idea that these shows even existed, thanked
    me for the cassettes and sent me two autographed
    photos. The last person I gave tapes to is the most
    beautiful, talented woman in country music today -
    Suzy Bogguss. When she was a small girl she met Roy
    Rogers and idolized him from that moment on so
    naturally I recorded some cassettes of his show for
    her. She seems to have a real affinity for the old
    west so I also included some "Sixshooter," "Gunsmoke"
    and "All Star Western Theater." And if you haven't
    ever seen her in person you haven't lived because she
    brings the house down every time she does
    "Nightrider's Lament" and because of that I found some
    Judy Canova shows where she yodeled. The last thing I
    included was about 6 cassettes of the "Grand Ole Opry"
    four of which have Hank Williams and 2 with Wally
    Fowler and the Origional "Oak Ridge Boys." When I gave
    her the bag full of tapes I was rewarded with a
    wonderful hug, (God it was great holding her in my
    arms!) several autographs and the usual question -
    "Where did you get these?" I suppose what I'm trying
    to say is how could the few radio stars and
    celebrity's that are left get upset with people
    selling something that the major majority of them
    don't even know exists in the first place?
                                        3. When I do
    restart "RJR" I plan to open an Escrowll Account" I
    plan to put between 25 and 50 cents of each sale into
    that account and send residuals to the people that I
    can find such who just might benefit from the money
    such as Gretchen Jordan (Jims' Widow, Galen Heisch's
    Widow, (he wrote "The Cinnamon Bear) Bob Hastings,
    Betty Hutton and anyone else who I can locate because
    these would be the people who are really in need of
    the money.
        4. The afore mentioned WAS NOT attempting to
    defend his property. HE WAS TRYING TO FORCE MY FATHER
    AND MYSELF OUT OF BUSINESS BY SAYING HE ALL OF A
    SUDDEN CONTROLLED 90% OF OUR INVENTORY!!!!! (And I'll
    repeat it one more time - I STILL HAVE THE LETTER)
                                               5. The
    afore mentioned said, "People bend what it is I say
    depending on if they are a dealeror if they just a fan
    of OTR. People also make up most of what I am
    "supposed" to have said." Do I need to repeat what I
    said in number 4 a fourth time?
                              Although he didn't see the
    letter there is another person out there who can
    verify almost everything that I've said. In some
    circles he's know as "Beautiful" Bob Axely, when he
    puts on a rusted old badge he becomes "Sheriff Robert
    Axelrod" and every two months we play "Hail To The
    Chief" as he presides over our bi-monthly "Chattanooga
    Old Radio Club Meetings." Incendentally, next week
    we're going to be having a big hootenany over at his
    bunkhouse and talk and listen to old radio. But the
    absolute best thing that I can say about Bob is that
    he one my best friends here on earth and so is club
    secretary, Jim Adams. They both knew my father and I
    whenever we first began "RJR" and will tell you that
    everything I've said is true. But the only person you
    can ask is Bob because Jim isn't back on-line yet.
                                                  And with
    their help my goal of getting "RJR" up and running by
    late Septemeber or early October can be attained. And
    I promise to let everyone know when we do get
    restarted. By the way, if your interested in "The
    Chattanooga Old Radio Club" you can E-Mail "Beautiful
    Bob" at badaxley@[removed]
            I hope this has clarified a few things from
    the previous posting.

    --------------------------------
    End of [removed] Digest V01 Issue #179
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