Subject: [removed] Digest V01 #193
From: <[removed]@[removed]>
Date: 6/16/2001 3:10 PM

To: <[removed]@[removed];

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

                          The Old-Time Radio Digest!
                             Volume 01 : Issue 193
                       A Part of the [removed]!
                               ISSN: 1533-9289

                               Today's Topics:

     Gunsmoke Comparisons                 [ArtsMilitaria@[removed] (Arthur Fun]
     San Quentin on the Air               ["Lois Culver" <lois@[removed];  ]
     More Gunsmoke - Radio verses TV      [bruce dettman <bdettman@[removed]]
     Gildy's middle name                  [JimInks@[removed]                    ]
     For the love of OTR                  ["Dan Panke" <dpanke@[removed];   ]
     "Language of the [removed]"          ["Ted Kneebone" <tkneebone1@[removed]]
     Re: An easier approach to copyright  ["John <ayer" <mayer@[removed];      ]
     Radio Editors                        [Donna Halper <dlh@[removed]; ]
     New A&A Article Available            [Elizabeth McLeod <lizmcl@[removed]]
     Dolby recording                      ["A. Joseph Ross" <lawyer@[removed].]
     Re: San Quentin on the Air?          [Robert Kirk <kirk@[removed]]
     Pat Friday                           [George Aust <austhaus1@[removed]]
     Suspense ending                      ["Martin Grams, Jr." <mmargrajr@hotm]
     Re: Amari as Freedom Rider?          ["John <ayer" <mayer@[removed];      ]
     additional trivia                    ["Martin Grams, Jr." <mmargrajr@hotm]
     radio show available                 ["Martin Grams, Jr." <mmargrajr@hotm]
     Nagasaki                             [JJJ445@[removed]                     ]

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

    Date: Fri, 15 Jun 2001 15:21:18 -0400
    From: ArtsMilitaria@[removed] (Arthur Funk)
    To: [removed]@[removed]
    Subject:  Gunsmoke Comparisons

    RyanO and Mike Ray both commented on comparisons of the Gunsmoke series
    on radio and TV.  I got a Gunsmoke set for Christmas and listened to it
    for a week or so as I commuted.  So I was "immersed" in the radio
    characters for that time.  When I finished the set I found that I had
    reached some conclusions about the characterizations on the two [removed]

    Matt Dillon:  As Bill Conrad portrayed him I found him to be a much more
    impetuous and angrier man than the Jim Arness portrayal.  Matt Dillon on
    TV was a lot mellower though both were compassionate men.

    Chester Proudfoot (Good on TV):  I always found the TV character to be
    rather uninteresting and flat.  Parley Baer's interpretation is much
    more entertaining.  Chester Proudfoot is given to enjoying wine, women
    and song, can be a bit mischievous and exhibits an independence that I
    don't recall Chester Good.  Chester Good often seems timid and rather
    whiney.

    Doc:  The radio character comes off, IMHO, as a bit of a bumbler, a
    whiner and afraid of his own shadow.  The tv character is, despite his
    gruff exterior, a much more sympathetic character who exhibits admirable
    wisdom, medical skill and dedication and is rather courageous.

    Kitty:  I find the TV characterization to be that of a rather confident,
    self-assured person.  On the radio series most of the time Kitty is
    hardly more than background.

    Festus:  Yes, I know there was no Festus on the radio series.  But I
    find Festus to be a really wonderful character who has much in common
    with Parley Baer's Chester.  I find the dynamic relationship between
    Matt and Festus to be much more satisfying that that between the TV
    Marshall Dillon and Chester.  Festus brought much to that series.

    I'm one of those who grew up listening to Gunsmoke on radio and also
    watching it on TV.  I liked both series but I really find little
    similarity between the two except the characters' names and the high
    production values.  They're both excellent but very different programs.

    One final comment.  I don't want to take anything away from the fine
    actors who portrayed these roles.  They pretty much worked with what
    they were given by the writers.  The parts were simply written
    differently on radio and TV.

    Regards,
    Art Funk

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

    Date: Fri, 15 Jun 2001 16:44:29 -0400
    From: "Lois Culver" <lois@[removed];
    To: "OTR Digest" <[removed]@[removed];
    Subject:  San Quentin on the Air

    "San Quentin on the Air" was done by KFRC, San Francisco.  I recall my late
    husband Howard Culver telling of some of the occurrances while he did the
    show [removed] kidding around of the convicts about their incarceration,
    etc.  I'm not sure of Howard's participation, whether as announcer, narrator
    of some of the pieces, or actor, as he did all that (plus newsman) at KFRC
    at the time.

    Lois Culver
    KWLK Radio (Mutual) Longview, WA 1941-44
    KFI Radio (NBC) Los Angeles CA 1945-47, 50-53
    Widow of Howard Culver, actor

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

    Date: Fri, 15 Jun 2001 16:44:31 -0400
    From: bruce dettman <bdettman@[removed];
    To: [removed]@[removed]
    Subject:  More Gunsmoke - Radio verses TV

    I'm a great fan of the radio series and agree that Conrad's Matt Dillon
    is a much more complex, dark and intriguing character than the
    characterization as created by Arness -- who I nonetheless enjoyed,
    particularly during the early years of the series when the black and
    white, half hour shows created leaner, tougher western stories.

    I do recall, however, that even on TV Matt didn't always give the other
    guy(s) a fair chance when he thought the odds didn't favor it. In one
    episode Chester and he hide outside a shack where Kitty has been
    kidnapped by a trio of bad guys. When they wander outside Matt and
    Chester, having given no warning,  simply mow them down. This probably
    would never have happened in its later television history.

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

    Date: Fri, 15 Jun 2001 16:58:51 -0400
    From: JimInks@[removed]
    To: [removed]@[removed]
    Subject:  Gildy's middle name

    I think the answer to this is simple.  Hal Peary said he lived on
    Throckmorton Place and used that as the original basis for the name.  Many
    people (me included) have used street names for characters before.  In the
    Fibber McGee episode mentioned, the writers either forgot this or correctly
    decided that "Place" would not get a laugh, but that "Philharmonic" would.
    That's why Willard Waterman confirmed it because he undoubtly knew this name
    was used on the air.

    My source for Peary's comments come from a 11-3-74 interview with a fellow
    named Jerry Perchesky.  I still give the nod to Peary because he ought to
    have known.  Either way, Gildy gets the last laugh on us.

    -Jim Amash

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

    Date: Fri, 15 Jun 2001 16:58:54 -0400
    From: "Dan Panke" <dpanke@[removed];
    To: "Old Time Radio Digest" <[removed]@[removed];
    Subject:  For the love of OTR

>     Mike Ray notes, anent RSI/MediaBay, etc.,

> > >     Though I've never met or talked with Carl Amari, I've gotten the

>     impression that Carl really does care about Old Time Radio. I believe
>     that some of you have been unfair and are frankly jealous of this man.
>     After all, this boy wonder was the one with the initiative to understand
>     how the Copyright game is played. <<

    If a person were to 'really' care about Old Time Radio, why would they gain
    control of the rights and stop the 'free' circulation of said material?
    This doesn't sound look like someone who cares to me.  The person who cares
    is the person who digs through their archives, pulls out an old broadcast,
    digitizes it and posts it so the recording lives on.  Not someone who claims
    rights to a product and sells it to you for profit.  I'm sure Wal-Mart
    'cares' about all the products they sell as well.

    ==========
    Dan Panke
    [removed]  [removed]

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

    Date: Fri, 15 Jun 2001 18:28:56 -0400
    From: "Ted Kneebone" <tkneebone1@[removed];
    To: <[removed]@[removed];
    Subject:  "Language of the [removed]"

    Just listened to a two minute diatribe by Dick Tracy on the evils of using
    slang.  He was correcting Junior for saying "Takin' it on the [removed]"
    Paraphrasing the great detective:  "Using slang will do harm to yourself.
    It is the language of the gutter.  It is spoken by those who have no
    education.  It is the mark of a lazy brain.  It is unpleasant to hear.  It
    is the language of the roughneck, the hoodlum.  And besides it does no
    credit to a member of the Dick Tracy Secret Service Patrol!"  (From the
    2/21/38 episode)
        We sure have come a long way in our view of slang, what it is and
    whether or not to use it!

    Ted Kneebone / 1528 S. Grant St. / Aberdeen, SD 57401 / 605-226-3344
    tkneebone1@[removed] | OTR:  [removed]
    [removed]  |

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

    Date: Fri, 15 Jun 2001 20:29:34 -0400
    From: "John <ayer" <mayer@[removed];
    To: [removed]@[removed]
    Subject:  Re: An easier approach to copyright research?

    "Stephen A Kallis, Jr." <skallisjr@[removed]; commented

>     ...the dealer is in the position of having to shut down completely to comply, > > with no

    further input from the lawyers -- unless that dealer went through a > lengthy and not
    inexpensive procedure of doing the same kind of copyright > search that Amari did to be able
    to acquire the rights in the first place.

    Maybe Carl actually does research the copyright status of each and every show he offers for
    sale. However, I recall that he stated, some time back, either in an interview or on the
    internet (don't recall which), that he originally was guilty of violating OTR copyrights
    himself. I believe he said that he began naively airing OTR on a college station, and was
    surprised when copyright holders contacted him and demanded royalties, which he then proceeded
    to arrange.

    I would suggest that acting first and waiting for copyright holders to make themselves and
    their rights known may have proven to be the most expedient way to acquire this information.
    ________
    John Mayer, catching up

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

    Date: Fri, 15 Jun 2001 21:03:54 -0400
    From: Donna Halper <dlh@[removed];
    To: [removed]@[removed]
    Subject:  Radio Editors

    quoting the late great Edythe Meserand (founder of American Women in Radio
    & Television), Bhob wrote--

>     The first radio editor in radio was
>     a man by the name of Webb Artz for United Press."

    Umm, well maybe.  But I think the nice lady mis-remembered, since this
    interview was transcribed many years after the events in question, and as
    we have discussed on this list, the concept of "first" is a tricky
    one.  Ms. Meserand knew the men who covered the networks-- and in that, she
    is probably correct that Charlie Butterfield (Associated Press) and Webb
    Artz of UP (later UPI) were the two who did the syndicated columns in New
    York.  But I strongly doubt that either gentleman were first, for one very
    important reason.  Associated Press had a major (and often nasty) rivalry
    with radio-- and even sued stations that tried to use AP copy in their
    newscasts.  As early as 1922, the General Manager of AP, Frederick Roy
    Martin, issued a directive warning newspapers that owned radio stations (or
    that allowed their reporters to read news over a local station) NOT to use
    any Associated Press material.  I have researched this issue and found that
    stations generally ignored him, but if he caught you, you absolutely did
    get fined, as Editor & Publisher reported on a number of occasions in the
    20s.  The entire battle came to a head in the 30s with the so-called
    "Press-Radio War," but that's an e-mail for another time.  My point is that
    it is doubtful either Mr Butterfield or Mr Artz were first, since only
    Heart's wire service (International News Service) was willing from day one
    to permit radio to use its reports.  More likely, AP sort of came on board
    for a while in the late 20s, and then jumped off board when AP
    re-considered and decided radio was taking away too many ad revenues.

    In Boston, Guy Entwistle is the first radio editor I know about-- in
    February of 1921, he began a regular column for the Boston Traveler, and it
    was not just about technical stuff.  Guy was a ham radio fan, and he was
    also friends with all the folks at our first station 1XE/WGI.  While in
    some cities, male editors were hostile about women on the air, Guy from the
    beginning was very supportive of Eunice Randall, the first woman announcer
    in Massachusetts radio.  And in New York, another well-known ham radio
    legend, Jack Binns, writing under the name of "Pioneer" (which he was),
    wrote a radio column for the Tribune circa mid 1921.  I am sure both of
    them came way before either Mr Butterfield or Mr Artz.

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

    Date: Fri, 15 Jun 2001 22:05:09 -0400
    From: Elizabeth McLeod <lizmcl@[removed];
    To: <[removed]@[removed];
    Subject:  New A&A Article Available

    Amos 'n' Andy enthusiasts may be interested in "Amos 'n' Andy By The
    Numbers," a new addition to my A&A in Person website. This article
    analyzes the ratings popularity of the program over a twenty-five year
    span from 1930 to 1955, and in doing so attempts to puncture certain
    myths about the ebb and flow of the program's ratings. The article may be
    found at [removed]~[removed].

    Elizabeth

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

    Date: Fri, 15 Jun 2001 22:56:36 -0400
    From: "A. Joseph Ross" <lawyer@[removed];
    To: [removed]@[removed]
    Subject:  Dolby recording

>     Date: Thu, 14 Jun 2001 19:19:46 -0400
>     From: "J. Alec West" <Alec@[removed];

>     What it is "meant for" is all well and good.  All I know is that the input
>     file
>     was incredibly noisy and the output file was not.

    This reminds me of a scene in the movie "Apollo 13."  There's a meeting of
    engineers who have to come up with some way that the astronauts aboard
    Apollo can survive to get home.  The boss engineer says, "We don't care
    what something was =designed= to do.  We only care about what it =can= do.

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

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

    Date: Fri, 15 Jun 2001 22:56:35 -0400
    From: Robert Kirk <kirk@[removed];
    To: [removed]@[removed]
    Subject:  Re: San Quentin on the Air?

    [This got rejected from the last issue since I forgot to remove the
    styling; thus Bob Keldgord's message on the same subject in the last issue
    should be a little less cryptic [removed] Bob Kirk]

    Bob Keldgord mentions the old San Quentin prisoner produced  radio
    broadcasts and their theme song, "Time on My Hands".  Coincidentally,  I
    was looking into the same topic a few weeks ago for a different reason, and
    I had remembered hearing the story essentially as he mentions it below: a
    show made inside the walls of San Quentin by the yeggs, but broadcast some
    way to the world outside.  I'm sure it's authoritative because of Kelgard's
    thesis work and the direct help from Warden Duffy.

    But when I did some searching on the internet, I found a short bio of
    Duffy, written by his brother,  which says:

>     Through all of the trying times at the beginning, and also throughout his
>     entire career as Warden, Gladys, his wife was a constant consultant and
>     loving support. When a closed communication system was installed in the
>     prison, Gladys put on a weekly program for the inmates. It was very well
>     received and highly regarded. Her theme song was Time on My Hands.

    There was no mention of a felonious broadcast to the outside world.  I
    assume the two different versions means that the in-house closed circuit
    show done by the warden's wife **for** the cons came first, and that later
    the inmates took over the asylum and broadcast to the world themselves.  At
    least, that might reconcile the versions. Bob Keldgord  or anyone know for
    sure?

    Bob Kirk

>     [...] When I
>     wrote my master's thesis, one of my subjects was the wartime broadcast series
>     called "San Quentin on the Air" . It was a remote out of the prison, carried,
>     I believe, by KFRC in San Francisco. The show was produced entirely by
>     inmates, many of whom were very talented.[..]Duffy, who became a member of
>     the CA parole
>     board and who is now deceased. HE helped me with my thesis, and told me that
>     he had, personally, selected the show's theme song which was "Time on My
>     Hands".[...]  bob keldgord

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

    Date: Fri, 15 Jun 2001 23:43:02 -0400
    From: George Aust <austhaus1@[removed];
    To: [removed]@[removed]
    Subject:  Pat Friday

    Hello all

    I was gone for 5 days at the Glenn Miller Birthplace Society Festival in
    Clarinda Iowa. It was just great as usual with so many big bands that we
    lost count. Great music from 7am to very late at night.
    Now that I'm home I am trying to get caught up with everything including
    the digest and just not making any headway. I retired two weeks ago
    today and I've never been so busy with so little spare time.
    I just read Randy Story's post from last Sunday asking about Pat Friday.
    As it happened on that very day I was in Iowa talking to Pat Friday! She
    is little bit of a thing and a sweeter lady you've never known.
    Unfortunately I didn't get a chance to find too much out about her
    career but I will tell you what I know.
    Without a doubt her most famous work occurred in the spring of 1941 when
    she dubbed in the voice of Lynn Bari singing with the Glenn Miller band
    in "Sun Valley Serenade", then again in the spring of 1942 when she
    performed the same service for Miller's film "Orchestra Wives". She says
    that she never even met Miller or any of the band, as dubbing in voices
    was done in secret by the studios in those days. She was escorted into
    the recording studio at 20th Century Fox thru the back door and was not
    allowed to talk to anyone. They put her in a closet sized glass booth
    and she had a mike and some head phones. She could hear and see the band
    across the studio but didn't even know if they could see her. When she
    was done with all the songs they escorted her out and off the sudio lot
    the same way. By the early 50's it became general knowledge (especially
    among Miller fans) That it was Pat Fridays voice in those films.
    She talked about how during the war she would go down to Long Beach,
    from North Hollywood where she lived, to meet the hospital ships that
    came in from the Pacific. She said that military red tape would keep the
    men on those ships waiting for hours and hours for who knows what
    reasons when many of the men knew that there families were on the piers
    waiting for them. She would go aboard and sing for the men and talk to
    them, some of them with horrible wounds . It was still hard for her to
    talk about these experiences, and I think she was proud and happy that
    she could do her duty in this manner.
    Pat was included in a forum of people who knew or worked with Glenn
    Miller and it was all very interesting. My wife was most impressed with
    her so when I saw her in the crowd the next day I snagged her telling
    her that my wife would like to talk to her. She was very gracious and
    they spent a few minutes huddled together. Unfortunately someone else
    came along and I got caught up in another coversation. I will try to
    find out if she has an email address and get in touch with her to find
    out more about her career particularily in otr.

    George Aust

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

    Date: Sat, 16 Jun 2001 00:45:34 -0400
    From: "Martin Grams, Jr." <mmargrajr@[removed];
    To: [removed]@[removed]
    Subject:  Suspense ending

    Dennis Crow wrote:

    I'd be interested in Martin telling us what the original ending was , if
    June Havoc confided this information to him.  I have always accepted the
    ending to the radio play as totally Lucille Fletcher's creation.

    Dennis,
    After June Havoc told me of this interesting fact, I did ask what the
    original ending was, before Spier made Moorehead the victim.  Sadly, she
    could not recall the original ending.  Course, since the original idea was
    never even broadcast (to the best of my knowledge), it would seem likely
    that unless the actual first draft surfaces, the only ending we will know is
    the one we're most familiar with.

    I did write to Lucille Fletcher (who lived about 100 miles south of me), who
    at that time was known as Lucille Wallop, and received a letter back but
    with no answer to the question about whether or not it was true that Bill
    Spier changed the ending to "Sorry, Wrong Number" to what we're all familiar
    with.  Perhaps the Library of Congress holds a first draft?

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

    Date: Sat, 16 Jun 2001 01:05:30 -0400
    From: "John <ayer" <mayer@[removed];
    To: [removed]@[removed]
    Subject:  Re: Amari as Freedom Rider?

>     "Steven Lewis"  suggested:

>     The OTR culture has been built around the exchange of OTR programs for free
>     among enthusiasts or for a nominal fee from an assortment of mom-and-pop
>     vendors. Along comes Carl Amari and his company to threaten lawsuits if many
>     of these activities continue. Of course, the established OTR culture is
>     irate at this outside interference, as were southern Americans in the 1960s
>     when the Feds stepped in to say "no more apartheid."

    As both a longtime collector of OTR and a Southerner, I have to wonder if you
    know anything about either one. First, it's patently ridiculous to compare Amari
    with Martin Luther King or Medgar Evars or Rosa Parks. Secondly, there was no
    monolithic regional "apartheid" in the South; in many parts of the South,
    including my native Knoxville, integration was barely noticed. And before you
    start feeling too superior by virtue of living above the Mason-Dixon line, recall
    that in the most massive Ku Klux Klan rally ever held, in DC around 1929, 90% of
    the marchers were from the North. Also, we must acknowledge that the black
    stereotypes we all deplore from that era in radio and movies originated primarily
    in the entertainment and broadcast centers of the North and West. And, as I
    recall, bussing for racial balance in the North did not go all that smoothly back
    in the 70's, when, surely, we, as a nation, all knew better.

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

    Date: Sat, 16 Jun 2001 01:05:29 -0400
    From: "Martin Grams, Jr." <mmargrajr@[removed];
    To: [removed]@[removed]
    Subject:  additional trivia

    [removed] Wolfe is correct, when she listed the Suspense airings of Sorry, Wrong
    Number:
    He're some more detailed info.  The original title of the play was "She
    Overheard Death Speaking."  The early broadcasts were actually done twice,
    once for the East Coast, and a second time (usually about two hours later)
    for the West Coast.  The initial airing is the one that had an error in it.
    On the May 25, 1943 East Coast version, the punch line was delivered half a
    minute early, and listeners were not able to understand what happened at the
    end.  So the same drama was performed a few months later in August of 1943.
    It's the August 1943 broadcast that brought SUSPENSE to America's attention.
      Seems like more people tuned in to the repeat performance and not the
    initial one.  There does exist both the East Coast and West Coast version of
    the May 1943 broadcasts, which feature the different endings.  Some
    collectors out there offer both versions.

    May 25, 1943 East Coast Version
    May 25, 1943 West Coast Version
    August 21, 1943
    February 24, 1944
    September 6, 1945
    November 18, 1948 - still remember that up to this time, the show was still
    being broadcast twice a night, once for each coast so there is was
    technically more than one performance per date.
    September 15, 1952  - this is the only version not known to exist.
    October 20, 1957 - this was the last time Agnes Moorehead performed the role
    in "Sorry, Wrong Number."  Believe-it-or-not, the next broadcast, dated
    February 14, 1960, would actually offer a recording of the 1957 version,
    with a couple minutes edited out.  If you have both the 1957 and 1960
    version, listen to them and you'll not only notice the same cast, but play
    them both at the same time and you'll see they're the same.

    "Sorry, Wrong Number" was also performed with Barbara Stanwyck and Burt
    Lancaster on THE LUX RADIO THEATER.  Stanwyck also reprised her movie role
    in a spoofed-up version for an episode of radio's JACK BENNY PROGRAM.  If
    anyone has the premiere episode of RADIO CITY PLAYHOUSE, entitled "Long
    Distance," listen to it and see if you don't hear shades of "Sorry, Wrong
    Number" being copied . . .

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

    Date: Sat, 16 Jun 2001 01:21:06 -0400
    From: "Martin Grams, Jr." <mmargrajr@[removed];
    To: [removed]@[removed]
    Subject:  radio show available

    Chris wrote:

>     I do not see how given these facts that anyone can maintain that there is in
>     circulation from May 25, 1943 both an East Coast and West Coast version of
>     "Sorry Wrong Number".

    Ted Davenport, if I am not mistaken, offers both versions on one audio
    cassette, in his catalog.  Same cast, same production credits, just the
    ending differs.

    Scout wrote:

>     The 'flub' episode is the first one on the list. The following week
>     preceding Banquo's Chair was an explanation of the mistake.

    Scout's correct.  In the episode following, entitled "Banquo's Chair," the
    man in black announced "The producer of SUSPENSE felt that it was incumbent
    to reply to the many inquiries to the solution to last week's story of the
    woman on the telephone titled 'Sorry, Wrong Number.'  Due to a momentary
    confusion in the studio, an important line cue was delivered at the wrong
    time and some of our faithful listerners were uncertain to the outcome of
    the story.  For them [East Coast] they knew that the woman, so remarkably
    played by Agnes Moorehead, was murdered by a man whom her husband had hired
    to do the job.  We should also like to announce that in response to many
    hundreds of requests, this SUSPENSE play will be repeated within a few
    weeks."

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

    Date: Sat, 16 Jun 2001 11:31:49 -0400
    From: JJJ445@[removed]
    To: [removed]@[removed]
    Subject:  Nagasaki

    According to ASCAP's Index of Performed Compositions (a handy publicly
    available tome listing all compositions and their composers as well as owner
    of current copyright - ah,  wouldn't OTR have it easier with such an
    equivalent!) the song Nagasaki was written by Mort Dixon (w) and Harry Warren
    (m) in 1928. It was introduced by  Paul Friar's Society Orchestra on the Okeh
    label.  Memorable recordings include Don Redman (Brunswick), Fletcher
    Henderson (Columbia), Glen Gray (Decca) and Cab Calloway (Brunswick). Doris
    Day sang it in the movie My Dream is Yours in 1949. RemicK Music Corp. is the
    publisher.

     ASCAP (American Society of Composers, Authors and Publishers) was formed in
    1914 to license the public performances of various compositions. To show how
    serious they are about protecting copyright, in addition to lists you'd
    anticipate in finding of popular songs, you'll also find entry after entry of
    music cues and stings for various radio, television, motion picture and
    commercial productions.  Yes, even those little nonsensical noises made
    between Seinfeld segments are protected by copyright.

    In addition, you'll find multiple entrys for public domain songs in which
    embellishments were made to the point someone has sought copyright for that
    change.  Be careful the next time you sing "God Rest Ye Merry Gentlemen" in a
    public place. You may be treading on someone's copyright. ASCAP lists over
    100 protected versions.

    John Jensen
    Federal Way, WA

    --------------------------------
    End of [removed] Digest V01 Issue #193
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