Subject: [removed] Digest V01 #204
From: <[removed]@[removed]>
Date: 6/25/2001 12:16 PM

To: <[removed]@[removed];

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

                          The Old-Time Radio Digest!
                             Volume 01 : Issue 204
                       A Part of the [removed]!
                               ISSN: 1533-9289

                               Today's Topics:

     "Now see what you made me do ...."   ["Stephen A Kallis, Jr." <skallisjr@]
     Re:  Radio Spirits Promotion         [Michael Biel <mbiel@[removed];       ]
     Walter Kinsella (Again)              [Udmacon@[removed]                    ]
     CAPTAIN MIDNIGHT  - Episode #1       [HERITAGE4@[removed]                  ]
     Re: cassette dubs                    [Fred Berney <berney@[removed];      ]
     HAL STONE - RESIDUALS                ["Ian Grieve" <ian@[removed]]
     "The Thinker" at Haverhill High      ["Doug Leary" <dleary@[removed];    ]
     A Bunch of Greats                    ["Stephen A Kallis, Jr." <skallisjr@]
     Just Recompense                      ["Stephen A Kallis, Jr." <skallisjr@]
     Crackle While You Walk ....          ["Stephen A Kallis, Jr." <skallisjr@]
     Marriage and Fred Allen & Jack Benny ["Michael Hayde" <mmeajv@[removed]]
     Archie Andrews at Haverhill High     [Bhob Stewart <bhob2@[removed]; ]
     Benny Versus Allen                   ["Stephen A Kallis, Jr." <skallisjr@]
     Re: Allen vs. Benny                  [Elizabeth McLeod <lizmcl@[removed]]
     Re: Contractural Rights              [Elizabeth McLeod <lizmcl@[removed]]
     Teresa Brewer                        [Roger Lorette <webmaster@cyber49er.]

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

    Date: Mon, 25 Jun 2001 01:34:32 -0400
    From: "Stephen A Kallis, Jr." <skallisjr@[removed];
    To: [removed]@[removed]
    Subject:  "Now see what you made me do ...."

    Don Hunt is reported to have typed, in the latest [removed] Digest,

>     -i, along with many others-both here and elsewhere are ready to have
>     done with Mr. Amari.

    As the guy said, "On this bottle, it says, 'Keep away from children'  Yet
    no matter how hard I try, they find me."   I think that if Mr. Amari
    would have done with many who receive the Digest, they would have done
    with him.

    It is worth noting that it was RSI/MediBay who put out a press release on
    PR Newswire about their motion to enjoin Napster, and used that to repeat
    their party line.   The Los Angeles Times piece wasn't anything
    coincidental, either.

    Without all that, this thread wouldn't have resumed.

    Stephen A. Kallis, Jr.

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

    Date: Mon, 25 Jun 2001 01:36:00 -0400
    From: Michael Biel <mbiel@[removed];
    To: [removed]@[removed]
    Subject:  Re:  Radio Spirits Promotion

    From: "George Tirebiter" <tirebiter2@[removed];

>     On page 2 ...[in] the RSI Summer catalog there is a sweepstakes
>     announcement.  First prize is a 1941 Shadow "Blue Coal" ring.
>     Second through fifth prizes are RSI gift certificates. ...
>     The announcement says the sweepstakes is open to "PEOPLE PLACING
>     AN ORDER"from now until Sept 15. It was always my understanding
>     that if a business operates a sweepstakes it has to be open to
>     EVERYONE, regardless if they purchase anything or not. ...
>     Anyone have definative information on the legality of RSI's promotion?

    I'm not a lawyer (nor do I play one on television) but back when the FCC
    had a regulation against broadcasting any information about lotteries we
    were taught that there were three elements that we had to check: 1)
    Prize, 2) Chance, and 3) Consideration.  Well, we have a "prize".
    Because the winners will be selected by random selection and there is no
    skill involved, the winner is being chosen by "chance".  And IF there is
    no way to enter the contest except by a purchase, that purchase is the
    "consideration".  That means that this contest appears to be a "lottery"
    which is probably illegal in many states, and in many other states can
    possibly only be allowed if it is operated by the state government
    itself, or for a registered charity.

    Mike Biel  mbiel@[removed]

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

    Date: Mon, 25 Jun 2001 01:36:41 -0400
    From: Udmacon@[removed]
    To: [removed]@[removed]
    Subject:  Walter Kinsella (Again)

    Says Harlan Stone:

>     By the way, as a member of the Lambs Club, did you get to know another
>     fixture there by the name of Arthur Cole? Arthur played the "Father" on the
>     "Archie Andrews" show for many years.

    Nope, did not know him; I joined the "Fold" in 1967. At that time OTR was
    well-represented by the likes of Ed Herlihy, Arthur Tracy, Lanny Ross,
    "Senator" Ed Ford, Bill "Let's Pretend" Adams, Harry Hershfield, and Peter
    Donald among others
    (John Cameron Swayze too, if you allow oldtime TV too!)

    I was about 29 and was a ready-made "new" audience for the wonderful patter
    of these old, old troupers.

>     Were you a member back when they "basted" John Wayne? What a night that was

    No, but I well-remember the Lambaste of Horace McMahon (didn't he do some
    OTR?)  One lambaster reminded Horace that his native state of Massachusetts
    named two of its towns after him: "Marblehead and [removed]"

    Bill Knowlton, "BLUEGRASS RAMBLE," WCNY-FM: Syracuse, Utica, Watertown NY
    (since Jan. 1973). Sundays, 9 pm est: [removed]

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

    Date: Mon, 25 Jun 2001 01:36:48 -0400
    From: HERITAGE4@[removed]
    To: [removed]@[removed]
    Subject:  CAPTAIN MIDNIGHT  - Episode #1

    RE: Questions about the origin of Captain Midnight ---
    The first episode of CAPTAIN MIDNIGHT which was aired for Ovaltine will be
    heard on Heritage Radio Theatre as part of it's own
    first show of a new series on Jerry Haendiges' Olde Tyme Radio
    Network. The show was aired on September 30, 1940 on the MBS.
    I'll let you know when the show is in place on the OTRN.
    ([removed])
    Tom Heathwood       06/23/01

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

    Date: Mon, 25 Jun 2001 01:37:30 -0400
    From: Fred Berney <berney@[removed];
    To: [removed]@[removed]
    Subject:  Re: cassette dubs

    The question was asked.

>     I was wondering, when you make copies of cassettes, after how many
>     cassettes
>     down the line do you start to notice a difference in quality from the master
>     recording?

    Unless you are using some kind of noise reduction system like Dolby, a
    trained ear can start hearing the difference after two or three
    generations. A lot has to do with the quality of the tape used and maybe
    even more important, the quality of the dubbing equipment.

    In fact, there are many variables. Are the heads on both machines aligned
    properly. Are they clean. Are they old or damaged. Are they running at real
    time or high speed. If high speed, are the amplifiers capable of handling
    the higher frequency that results from high speed.

    If the equipment is designed for dubbing, such as professional cassette
    duplicators or high quality recorders and it is in top notch condition and
    the tape used is of a high quality, then you can get by with maybe two
    generations. After that, tape noise starts to build up.

    Using a Dolby system will help this, but I think there may be a limit even
    when using Dolby. Dolby will not get rid of any tape noise, it will just
    help it from building up on the next generation.

    One other item to factor in is sound level. Too much level and you may be
    getting into distortion. Too little level and you pick up tape noise.

    All things being equal. If you were to go 20 generations of an audio
    cassette and 20 generations of an audio CD (and I mean just making a copy
    of the CD, not going analog and then digital), you should not hear any
    difference in the audio CD. You would hear a BIG difference in the audio
    cassette.

    Fred
    For the best in Old Time Radio Shows [removed]
    New e-commerce page [removed]

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

    Date: Mon, 25 Jun 2001 09:25:12 -0400
    From: "Ian Grieve" <ian@[removed];
    To: <[removed]@[removed];
    Subject:  HAL STONE - RESIDUALS

    Hal, two things.  The first is that I have enjoyed your postings on the
    digest, you paint some great pictures with your words.  So much so that I
    went looking for Archie episodes just to hear your character.  I grew up
    with the comics but never before had the opportunity to listen to the radio
    show.  My son and I have enjoyed them and I wish I could find more of them,
    they are very enjoyable and always bring a smile if not outright laughter.
    Hurry up with that book.

    2nd thing is this whole copyright/residuals issue.  I wrote my comments here
    regarding Radio Spirits and Carl Amari etc and Mr Amari had the kindness to
    reply in person to me.  I think he genuinely believes he is correct, though
    I personally disagree with his methods.  If he has done his homework and
    others have not, then more power to him.  Anybody else can stand up and do
    the same rather than argue this whole subject to death over and over again.

    However, only last week I was discussing on the irc this issue of residuals
    etc.  I argue that the whole thing could be solved easily by approaching the
    copyright holders and making them an offer of value for the shows to be
    either placed in the Public Domain or to be officially available for copying
    for non profit use.  Mr Amari and others can still fullfill their parts in
    supplying the Public who wants to buy fully documented, professionally
    packaged, delivered to your door, or chain store shelf.  All they have to do
    is include a payment per copy to the copyright owner.

    Now, what offer of value can be made to the copyright holders to do such a
    thing?  PUBLICTY for being a Community caring corporation?  There has to be
    a way to make everybody happy in this issue.  I can see actors, technicians,
    announcers etc having a case against the copyright owners who have been
    licencing what was in many cases a 'once only' broadcast.  Yes, various
    contracts may need to be inspected, but it could also be argued that
    contracts were entered into without the knowledge that people were signing
    away the opportunity of residuals.  That these shows were not expected to
    have a life beyond radio seems to be the case and the fact that modern
    technology has changed, that should also mean that the contracts or
    agreements should be revisited also.

    This whole issue is so messy, but surely it can be straightened out.  I can
    understand Carl being upset at dealers selling products that he has the
    rights too.  I can understand the dealers saying what rights?, show us,
    don't bully us.  I can understand the collectors who just want to collect,
    and I can understand the actors saying 'what about me?'.

    The has to be a solution that works for everybody.  Why don't we form a
    group and broker a deal. There is a solution we just have to find it.

    I am not suggesting that owners give away their rights.
    I would like to see Copyright Owners protected.
    I would like to see Dealers who can, sell the shows and pay a royalty.
    I would like the public to be able to collect and listen to the shows
    without being called pirates or thieves.
    I would like to see the Actors, Announcers, Engineers etc get recognition of
    some sort.
    I would like this whole copyright issue/slanging match come to an end (don't
    ban it from discussion)

    Maybe the things I have listed here are not practical, fine, they are a
    starting point.  Lets have some positive discussion and make something
    happen rather than just talking it to death.  Not a day goes by without
    slanging matches on the irc or here or other groups.  I think Mr Amari
    shares our enjoyment of OTR as do the collectors and Dealers who receive the
    Digest, so where better to start sorting this out.  Most of the copyrights
    are no doubt held by corporations, and we all know that corporations enjoy
    receiving positive publicity.  We can either start campaigning or we can
    just keep arguing and whipping a dead horse.

    Ian

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

    Date: Mon, 25 Jun 2001 09:25:15 -0400
    From: "Doug Leary" <dleary@[removed];
    To: <[removed]@[removed];
    Subject:  "The Thinker" at Haverhill High

    Was there a radio version of the 1950's television show "Dobie Gillis"? What
    brings this to mind is that, like Riverdale High, Dobie Gillis' school (I
    forget whether it was a high school or a college) also boasted a statue of
    The Thinker. Maybe this was a common thing, or were the two programs
    connected in any way?

    Doug Leary

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

    Date: Mon, 25 Jun 2001 09:25:33 -0400
    From: "Stephen A Kallis, Jr." <skallisjr@[removed];
    To: [removed]@[removed]
    Subject:  A Bunch of Greats

    Jer51473@[removed] asks,

>     what makes a "great" entertainer and who were they?

    IMHO, a "great" entertainer is one that transcends either the medium, the
    time, or both.  Jack Benny was a great entertainer; so was Basil
    Rathbone.  John Wayne, [removed] Fields, and Humphrey Bogart all fall into
    that category.

>     My point is that "great" seems to me to be in the eyes of the public at
>     the time that performer is performing and its acceptance and demand for
>     him/her.

    Well, "great" is always a subjective opinion.  However, "great" should
    have some lasting effect after the fact.  Jim Harmon's book, The Great
    Radio Heroes, involved only certain radio characters.  He mentioned The
    Lone Ranger, Tom Mix, Captain Midnight, and Jack Armstrong.  He didn't
    discuss Chick Carter, Speed Gibson, or Boston Blackie.  Likewise, I'd
    think that a great entertainer would be one whose influence extends some
    generations after achieving fame or notoriety.

    Stephen A. Kallis, Jr.

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

    Date: Mon, 25 Jun 2001 09:26:08 -0400
    From: "Stephen A Kallis, Jr." <skallisjr@[removed];
    To: [removed]@[removed]
    Subject:  Just Recompense

    Hal (Harlan) Stone points out that his 20 June 1946 contract limits the
    use of his recorded voice, "to make and ... license the use of
    off-the-line recordings of [his] performance ... but only for sales
    promotion and reference and filing purposes".  He notes,

>     (This Contract also refers to the termination of earlier similar
>     contracts from 1945 that were to be superceded by this one).

    Then asks whether programs of this period from 1946 on have been sold.
    But apparently he makes the assumption that this prevents him from
    gaining recompense from previous activities.

    I note again that I am not a lawyer.  That being said, I urge Mr. Stone
    to check his previous contracts anyway.  "Supercede" doesn't mean
    "nullify"; thus, any coverage from previous contracts wouldn't be
    canceled out by the newer contract, IMHO.

    Mr. Stone, you may be in for a pleasant surprise.  As may any other
    surviving OTR performers who still have copies of their contracts.  Check
    'em out, folks!

    Stephen A. Kallis, Jr.

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

    Date: Mon, 25 Jun 2001 09:26:48 -0400
    From: "Stephen A Kallis, Jr." <skallisjr@[removed];
    To: [removed]@[removed]
    Subject:  Crackle While You Walk ....

    Jim Cox notes, anent The Lone Ranger's mask, that the Cracker Barrel Old
    Country Store catalog points out that the mask was "... made from his
    dead brother's clothes."  He then sent for a mask, and got " ... a slick
    polished black plastic job with little more than a thin black rubber band
    to hold it around his head ...."   Jim then speculates,

>     in light of the new information from the Cracker Barrel, I'm wondering
>     if TLR's sibling wore polished black plastic tights . . . or perhaps
>     underwear.

    Well, the mask was not only plastic, but _stiff_ plastic.  This would
    really make one wonder just what was thrilling about the days of
    Yesteryear.:-)

    Actually, The Lone Ranger's mask was fabricated from his brother's vest,
    according to the legend.  I occasionally wondered why it didn't fray
    some, after years of use.  Possibly the surviving Reid brother had good
    tailoring skills.

    Stephen A. Kallis, Jr.

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

    Date: Mon, 25 Jun 2001 09:27:44 -0400
    From: "Michael Hayde" <mmeajv@[removed];
    To: [removed]@[removed]
    Subject:  Marriage and Fred Allen & Jack Benny

    First, sincere congratulations to Larry Gassman and Melinda Johnson.

    Second, J. Partridge asks:

>     My question: why has Jack endured while Fred has largely been forgotten.
>     I'm often in awe of the knowledge displayed by the correspondents and I was
>     curious to get their opinions.

    Having just finished reading Alan Havig's "Fred Allen's Radio Comedy," I
    would venture the opinion that Allen was first and foremost a satirist; and
    satire is only as memorable (and as current) as the thing you are
    satirizing.  This is not to say that Allen's humor wasn't brilliant - in
    most cases it was - but that the majority of his targets are no longer part
    of our daily lives.  Thus the laughter has dimmed.

    Benny, OTOH, created a personality that anyone can relate to - the put-upon
    man who strives to retain his dignity and command respect in spite of at
    least one very obvious flaw: his cheapness.  Most of his comedy stemmed from
    this premise.  It's possible to listen to one of Benny's shows with no
    further prior knowledge than "he was a cheapskate," and laugh heartily at
    the proceedings.  (I believe this because my teenaged children have done
    so.)

    BTW, I enjoyed Havig's book but found it a little too analytical for my
    taste.

    Michael

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

    Date: Mon, 25 Jun 2001 09:32:04 -0400
    From: Bhob Stewart <bhob2@[removed];
    To: [removed]@[removed]
    Subject:  Archie Andrews at Haverhill High

> >     ... depicting his days as a student at Haverhill High School (HHS).
> >     Montana was a member of HHS class of [removed] "The Thinker" stills sits
> >     outside at HHS's front entrance. The main characters, Archie, Jughead,
> >     Betty, Veronica and Reggie are all based on Montana's real-life friends
> >     at HHS and their teenage adventures.

>     I spent all my high school years at good old Haverhill High, and
>     walking past the statue of The Thinker.  Amazing.  Must have been one of
>     the best-kept secrets of HHS back in the 60s when I was there!

    Although six states have towns named Riverdale, it seems to me Montana
    might have devised this town name by combining two streets in Haverhill
    -- River Street and Hilldale Avenue.

    For an aerial view of Riverdale, go to [removed] and
    click "West" on the compass to see The Thinker thinking in front of the
    high school.

    In Meredith, New Hampshire, Bob Montana’s daughters, Paige and Lynn
    Montana, maintain a website to sell collectible "limited edition prints"
    of the ARCHIE syndicated strip: [removed]

    However, the best thing about the Montana site are four pages from
    Montana’s illustrated diary -- [removed] --
    recounting 1937-1938 events at Haverhill High School. Montana roughly
    simulated a newspaper format, giving each page a headline ("NEWBURYPORT
    BEATS [removed] FOR THE FIRST TIME IN 39 YEARS!"), a cartoon illustration
    of the headline and his short diary entry. These pages are a unique
    time-machine back to the true source of ARCHIE.

    Around 1979 or 1980, Gerald Peary wrote an article for the BOSTON GLOBE
    Sunday Magazine about Haverhill High School. He went to Haverhill and
    interviewed the surviving real-life prototypes for the ARCHIE characters
    created by Montana. This was a revelatory glimpse into the ARCHIE
    origins, and I'd quote from it here if I had saved it. (Maybe someone
    else does have a copy.)

    Three years ago, there was a plan by Universal to put Archie Andrews on
    the big screen in an ARCHIE movie being developed by Tommy O'Haver
    (BILLY'S HOLLYWOOD SCREEN KISS). Somehow that project got derailed, and
    the recent JOSIE AND THE PUSSYCATS (2001) movie was made instead --
    while O'Haver went on to direct GET OVER IT! (2001) with Kirsten Dunst.
    It's unfortunate ARCHIE never went into production, as BILLY'S HOLLYWOOD
    SCREEN KISS (1998) indicates O'Haver's visual style would have been
    perfect to recreate Riverdale. (There was a 1990 TV movie, ARCHIE: TO
    RIVERDALE AND BACK AGAIN.)

    Bhob @ PRE-FUSE @ [removed]

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

    Date: Mon, 25 Jun 2001 09:32:29 -0400
    From: "Stephen A Kallis, Jr." <skallisjr@[removed];
    To: [removed]@[removed]
    Subject:  Benny Versus Allen

    J Partridge, speaking of Fred Allen and Jack Benny, asks,

>     My question why has Jack endured  while Fred has largely been
>     forgotten.

    IMHO, two reasons.  One was that Jack Benny's radio persona was more
    archetypical than Fred Allen's.  Everybody can relate to the cheapskate
    aspect of Jack Benny on the radio.  It wasn't as witty as some of Fred
    Allen's stuff, but it was more basic.  Also, a lot of Fred Allen humor
    was more topical than Jack Benny's.  Benny's was more timeless.

    Stephen A. Kallis, Jr.

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

    Date: Mon, 25 Jun 2001 09:35:26 -0400
    From: Elizabeth McLeod <lizmcl@[removed];
    To: <[removed]@[removed];
    Subject:  Re: Allen vs. Benny

    Partridge wrote:

>     However, for me at least the
>     passage of
>     time has elevated Jack Benny and reduced Fred Allen to a misty memory. My
>     question
>     why has Jack endured  while Fred has largely been forgotten.

    Several reasons come to mind, and I offer them as an avid Allen [removed]

    1. Allen died in 1956. Few performers who have been dead for nearly fifty
    years continue to maintain a strong following. (To cite an example of a
    turn-of-the-century personality whose talent was comparable to that of
    Allen, how many people in 1956, outside of record collectors and
    vaudeville historians, knew who Charley Case was?) Benny, by contrast,
    lived until 1974, long enough to make an impression on baby-boomers.

    2. Allen's television work was sporadic. To the general public, OTR-era
    performers if they are remembered at all are remembered for their
    television work. Allen's major efforts in television were over by 1954 --
    after that, his poor health limited him to appearances as a panelist on
    "What's My Line." (Few baby-boomers are fans of Bennett Cerf or Dorothy
    Kilgallen [removed]). Benny, by contrast, was a popular television
    personality into the early 1970s -- so much so that CBS could present
    reruns of his TV show in a summer replacement slot as late as 1979,
    offering them not as nostalgia but as still-valid entertainment.

    3. Allen never developed an "air character" for himself. There were
    attempts early in his career to establish himself as a sort of small-town
    flim-flam man, "The Mayor of Bedlamville," but this had disappeared by
    the late thirties, and for the rest of his career he appeared simply as
    himself, a comedian standing on a stage reading funny lines. All the
    emphasis was on the material rather than on the man behind it. Benny, on
    the other hand, developed a clear-cut characterization early in his
    career and stuck to it for the rest of his life -- and even when his
    material was weak, the character was strong enough to put it over.
    Thruout his career, Allen remained a 1920s Broadway revue comic at heart,
    and this style is totally foreign to modern fans. Benny adapted with the
    changing times, and his character-oriented comedy is still familiar
    enough to provoke a response without requiring an explanation of its
    context.

    4. Allen never developed fully-rounded supporting characters. For most of
    his career, Allen's supporting cast worked as a stock company, portraying
    different characters every week. When the "Allen's Alley" characters
    emerged in the forties, they were by and large comic stereotypes who had
    no real substance outside their weekly appearance. They existed to
    deliver punch lines. Benny's cast, on the other hand, built its
    reputation on nuances of personality.

    5. Benny's material is simply more widely available than Allen's. The
    Trustees of the Boston Public Library, who own the rights to Allen's
    shows, have dragged their feet about licensing them to distributors,
    making it difficult for those who might enjoy Allen's work to get a
    decent sampling of his best material. (The "Town Hall Tonight" shows of
    the thirties are most representative of the scope of Allen's talent, but
    frustratingly few of them have penetrated the OTR world. The half-hour
    Allen shows of the forties, which are his most widely-available, date
    from a period where Allen was often in poor health, and do not always
    show him to his best advantage.) Benny's programs, by contrast have since
    the 1980s been among the most widely-distributed OTR material. Even OTR
    novices know who Benny was, and have heard his best work -- while you
    really have to put out some effort to discover the best of Allen.

    Elizabeth

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

    Date: Mon, 25 Jun 2001 09:37:38 -0400
    From: Elizabeth McLeod <lizmcl@[removed];
    To: <[removed]@[removed];
    Subject:  Re: Contractural Rights

    Hal Stone points out --

>     YOU'LL NEVER BELIEVE WHAT ARTICLE 10 OF THE CONTRACT STIPULATES ???? And I
>     quote verbatim.

>     "You authorize us to make and use and license the use of off-the-line
>     recordings of your performance hereunder but only for sales promotion and
>     reference and filing purposes".

    This is standard language for NBC contracts from approximately 1942
    forward -- 1942 marking the point where the NBC Radio Recording Division
    began making reference discs of the majority of nighttime network
    programs broadcast. It echoes similar language in the master contracts
    between AFRA and the networks regulating how recordings may be used.

    As has been noted before, there was never *ANY* intention that NBC
    Reference Recordings would *EVER* be commercially distributed. If you
    examine the actual discs, you'll find such language as:

    "Property of National Broadcasting Company Inc. Made For Reference
    Purposes Only. NOT TO BE USED FOR ANY PURPOSE WITHOUT CONSENT OF VICE
    PRESIDENT IN CHARGE OF PROGRAMS." (Label "Eng 183," printing of 9/37)

    "Copyright Material Herein of NBC Et Al Usable Under License Terms Only"
    (Label ET-9N, no printing date)

    "This Recording Is Not to be Used for Broadcast Purposes or for Public
    Performance for Profit. This Transcription Contains Copyright Matter."
    (Label RR-10, no printing date)

    In addition, some late-thirties NBC discs actually have the voice of an
    engineer recorded into the beginning, stating "This recording is for
    reference purposes only and is not to be used for broadcasting." (For
    some reason this phrase is usually deleted for modern rebroadcast or
    distribution, but if you listen to SPERDVAC's copy of the 10/11/37
    "Fibber McGee and Molly," you'll hear this announcement in all its glory.)

    Whether these restrictions still apply or are enforceable today is for
    the lawyers to decide -- but it would make for an interesting test case.
    NBC itself still controls licensing rights to its radio recordings held
    by the LOC, but given the standard language in its performance contracts,
    one does have to wonder exactly what the true legal status of the
    materials actually is. (And this doesn't even begin to address the even
    murkier status of AFRS recordings, which legally speaking are the
    property of the US Government and include dire warnings to that effect on
    their labels.)

>     Of the recordings of whatever "Archie" shows exist, do any of the program
>     dates fall between June 28, 1945 through Sept. 28, 1946?

>     (This Contract also refers to the termination of earlier similar contracts

    >from 1945 that were to be superceded by this one).

    While I'm not sure how many "Archie" programs are in current circulation,
    at least 127 exist at the Library of Congress, and five of these are from
    the 1945-46 season. LOC has nothing from 1946-47, but the 1948-49 and
    1949-50 seasons survive essentially complete.

>     Next question. Does anyone out there know who currently owns the "Rights" to
>     the "Archie" program.

    Archie Comics Publications, of course, controls the rights to the
    characters -- but I can't speak with certainty as to the copyright status
    of the radio programs. To make dubs of the actual discs at the LOC would
    require the consent both of Archie Comics and NBC.

    Elizabeth

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

    Date: Mon, 25 Jun 2001 09:52:21 -0400
    From: Roger Lorette <webmaster@[removed];
    To: [removed]@[removed]
    Subject:  Teresa Brewer

    I have only been a member of this newsletter group for a few months now and
    am happy that I can finally make a small [removed]

    Nathan Hutchins wrote:

>     I was wondering if anyone had any information on the radio appearances of
>     Teresa Brewer(I'm spelling it like it sounds).

    Teresa Brewer made a few appearances on the Bing Crosby (Chesterfields) Show
    in May and June of 1951.
    I have some of these shows.  You can hear them at [removed] where I
    have built a (low band-
    width) archive site for fans to listen to their favorite shows in Real Audio.
    I wouldn't mind some feedback from the members of this group as to what you
    think of the site.  I'm quite certain most of you will enjoy it.

    R Lorette
    [removed]

    --------------------------------
    End of [removed] Digest V01 Issue #204
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