
 SEE INFO SECTION AT END OF THIS DIGEST FOR UNSUBSCRIBE AND OTHER INFORMATION. 
	  	         === Last Update 1/17/95  ====





	    [removed]   Volume 96 : Issue 38


Articles in this issue of [removed]:

	 ORSON WELLES
	 TAPE STORAGE AND MAGNETISMS
	 Intellectual Property / Rights
	 RE:Bradbury 13
	  copyright: DS9
	 Dare we say [removed]!
	 Network Hollywood studios
	 Harold Peary
	 Pinky & The Brain
	 Bardbury 13
	 Henry Aldrich films 
	 Command Performance
	 Tony Schwartz / NY 19
	 Easy on Howard, now.
	 Local cable appearance
	 Old Time Radio
	 RADIO SHACK DX-132
	 RAD SHACK DX-392 NO SALE!

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

Date: Sun, 28 Jan 1996 15:18:47 -0500
From: SeptSev@[removed]
To: [removed]@[removed]
Subject: ORSON WELLES
Message-ID: <960128151847_208621868@[removed]>

Hello Friends:
Is there an Orson Welles OTR Society/ Fan Club out there?
Regards,
Thom Bray

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

Date: Sun, 28 Jan 1996 17:02:15 -0500
From: menodsan@[removed] (Charles Stevenson)
To: [removed]@[removed], otr@[removed]
Subject: TAPE STORAGE AND MAGNETISMS
Message-Id: <v01510101ad319fab60ca@[[removed]]>

It's been interesting to hear the information lately about the care and
feeding of our precious tapes!  Here's another question in that area:

WHAT ABOUT MAGNETIC FIELDS?

I have sound and video cassettes that mean something to me.  How careful
should I be to keep them away from TV sets, loudspeakers, components with
electric motors and other sources of mag fields?  What about storing them
in metal filing cabinets?  (The complete sessions of Steve Allen, Sailor
Moon and Urusei Yatsura occupy serious volume)

What is standard, proven practice in broadcasting facilities, studios,
[removed]  Detailed information on this issue would be helpful to many of us,
I'm sure.

Charlie Stevenson
Reston, Virginia

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

Date: Sun, 28 Jan 1996 17:04:24 -0500
From: RadioJoe5@[removed]
To: [removed]@[removed]
Subject: Intellectual Property / Rights
Message-ID: <960128160329_208649709@[removed]>

I usually lurk in the background until someone pushes my buttons, and I just
need to put my 2c in here.

Theft is theft.

The ability to commit the crime more easily, doesn't mean it is lecal,
acceptible or legally/morally right.  A lot of OTR passed into public domain
at the point of broadcast because the producers didn't bother to file
copyrights - afterall, reruns were *NOT* part of the scene.  

A few people actually respected their own work and filed for the copyrights
under the old law.  The new law grants copyright at the "point of creation"
whether you file or not (registration is primarily for legal actions, if they
come up).

In addition to the zillion other things I do, I write and cartoon.  One of my
cartoons, given to a non-profit corporation, included the cartoon with their
packets of material that went all over the world.  They came back to me with
the caption translated into dozens of other languages - even Icelandic, which
was very gratifying.  I had given away the rights and found the acceptance of
the work very satisfying.

However, I wrote a script for a film company who decided not to pay -- we had
a contract with me that included a claus stating the rights remained withme
until the contract was fulfilled (they paid me for the work).  Period.  The
producer was a vicious little woman who liked to sue everyone, but suing her
was "unfair."  I got my money, plus damages.

Any creator knows that their work may be duplicated without their consent
when they release it to the public.  There is no difference in stealing by
making counterfeit copies of the work than there is a difference in stealing
widgits from the factory or watches from a jeweler's case.  

You are wrong.  I don't care why you decided your infantile need to posses
outweights the person you are stealing from, but the mere fact that you can
doesn't make it write.  Your actions are criminal.

It is the exact position of "I knocked this old lady down and took her
handbag, because I could."   

The "inconvenient" arguement isn't worth refutation.

I'm glad to see people on this list standing with law and rights rather than
the kind of childish "but I want it" that pervades our evening news -
sometimes adults have to act like they are adults.

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

Date: Sun, 28 Jan 1996 17:13:46 -0500 (EST)
From: passage@[removed] (Frank Passage)
To: otr@[removed]
Subject: RE:Bradbury 13
Message-Id: <[removed]@[removed]>

Hi All,

Ron Hare posted the info about one of the Durkin Hayes Bradbury 13 tapes.
The remaining 5 are also excellent.  The only missing show is "The Screaming 
Woman" (NARA has it).  Also, I believe there was a broadcast featuring an 
interview with Ray Bradbury.  I think that's were the interview bits at the
end of each of the 6 DH tapes came from.  These may just be my favorite shows.
I got them from Adventures in Cassettes but, unfortunately, they no longer
carry them.  My log for that show is up on Lou's site, for those interested.

Frank

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

Date: Sun, 28 Jan 1996 21:15:00 GMT
From: [removed]@[removed] (Marty Tabnik)
To: otr@[removed]
Subject:  copyright: DS9
Message-Id: <96012815060632074@[removed]>

BR> Date: Sun, 28 Jan 1996 11:46:18 -0500
BR> From: Bruce Rudesill <lranger@[removed]>
BR> Subject: Sticks and [removed]
BR> Message-Id: <[removed]@[removed]>

BR> So tell us, exactly what "Intellectual Property Rights" Radiola
BR> had in the Shadow?

Radiola had bought/leased the rights from CondeNast (formerly
Street&Smith).  S&S owned the original rights.


BR> Please explain their part in the creative process as opposed
BR> to just signing a contract involving money and distribution.
BR> What Radiola had was a license <snip>

Of COURSE.  But an important part of copyright is the right to
duplicate&distribute copies (*INCLUDING* the right to license
others to d&d copies).


BR> which in this case had absolutely nothing to do with intelligence.

It had to do with the "intelligence" of the copyright OWNER
(S&S/CN) who wanted to profit from those rights, so S&S/CN
leased those rights to Radiola.  That is the financial
side of copy-right [the other side is creative control].


BR> But it did have everything to do with ripping off small time
BR> dealers and breach of contract.

Here you are, based on what I've read here, half right:
        TRUE:  Radiola did breach their S&S/CN contract by suing.
        FALSE: Those "small time dealers" had *ZERO* right to
                Duplicate&distribute copies of the Shadow.


BR> I remember it as Radiola asking Conde Nast not to send any Cease
BR> and Desist letters. Their contract specifically forbid Radiola
BR> from filing suit. That right was reserved by Conde Nast.  Radiola
BR> deliberately breached the contract by filing suit. Radiola did
BR> not do what it *should* have done, instead Radiola set out to
BR> crush a group of small time dealers.

IF that is what happened [I've asked Bob to email me a copy, as
I have been unable to find a DOS-based web crawler], then
clearly Radiola DID violate their contract with S&S/CN.  OTOH,
those "small time dealers" did not learn the lesson illustrated
a century ago by Jim Fisk, Jay Gould, et al.
        He who sells what isn't his'n
        Must buy it back or go to prison.

It seems crystal clear that few knowledgeable hobbyists know who
owns what in most OTR.  So, ANYone who sells/trades OTR without
such information takes a Big Risk. Those who duplicate&distribute
copies of material without assurance of their right to do so and
who publicly ADVERTISE those copies (or, even worse!, KNOW that
they are violating copyright -- as some here have bragged) should
have no complaint if they are, indeed, hoist by their own petard.


PS: "Folx" is a coined word I often use.  Remember
        One must KNOW the rules before one KNOWINGLY breaks them.
---
 * SLMR [removed] * I love a woman with chocolate on her breath.

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

Date: Sun, 28 Jan 1996 18:42:22 -0500
From: BCH66@[removed]
To: OTR@[removed]
Subject: Dare we say [removed]!
Message-ID: <960128171956_408729982@[removed]>

A few posters to this digest have been sympathic with the supposed copyright
holders of many OTR programs. And while their arguements are valid and
certainly based on logic ( in my opinion of course ) I feel they have
neglected to take in a few considerations when coming to their conclusions.
For instance if I had copies of tvs  I LOVE LUCY ,  MISSION: IMPOSSIBLE and /
or  THE JAMES BOND  films and possibly 
even GONE WITH THE WIND and began making copies for resale that would
certainly be in violation of copyright protection.
These properties have been valuable to their owners from day one.
Very valuable properties in fact. However, I have known people for years who
had recorded every I LOVE LUCY , STAR TREK and MISSION IMPOSSIBLE episode and
had in fact made copies for others . The studios have not come knocking on
their door. It is just a trade between fans and not a big issue. Besides most
die hard fans would love to have studio released copies which are better
quality but they have not been released . So fan A says to fan B '
" I hear they are showing all the INVADERS episodes in Cleveland 
can you record them for me ? "
Now the basic distinction with OTR is this-
Back in the 50s a lot of radio fans were finding out that many networks ,
sponsors and/ or agencies were literally throwing out 
their radio "properties". In the trash can mind you. I would come to the
conclusion right there that they had no intention of protecting 
the copyright which they viewed as [removed] times a radio fan would
induce the man to turn over the transcriptions to him rather than toss them.
"Sure kid take them". 
So as stated before if it were not for the original hobbyist there would not
be a " property " today at all. ( in some cases).
So we must make some considerations to come to our conclusions. 
Was the act of tossing out the transcriptions in the first place 
to be viewed as negating any desire to retain ownership???
When given to the collector was that a valid transaction and if so did it now
give the collector all rights or just the ownership of the 
actual recording? Does the collector now have the rigt to make copies? Does
the collector have the right to atleast sell the original copy he was given?
If the original owner retains the rights
is the collector owed compensation for 40 years of storage and safekeeping ?
And if the original owner DOES retain copyright and the authority to
distribute could not the collector still be considered 
the owner of the physical recording he was given ? Or in other words -"We do
not have a copy of the show yours is the only one "
says the owner to the collector. "We have the rights to distribute and will
pay you for the original recording at lump sum ."

 

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

Date: Sun, 28 Jan 1996 18:47:09 -0500
From: BCH66@[removed]
To: [removed]@[removed]
Subject: Network Hollywood studios
Message-ID: <960128172844_408735925@[removed]>

In visiting Los Angeles would one be able to find the NBC and CBS 
studios from radio's heyday. 
I am told the CBS studios "COLUMBIA SQUARE" now house KNX radio. These
studios I have seen . They are not far from Paramount studios I beleive on
Sunset ave. Speaking of Paramount someone once indicated that NBC  was
located between that studio and RKO ( which became Desilu and is now part of
Paramount ). 
But other indications are that NBC was on Sunset and Vine.
Anyone know ?  And what is there now ? 
Thanks for any info. 

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

Date: 29 Jan 1996 00:09:22 GMT
From: [removed]@[removed] (Ron B. Hare)
To: otr@[removed]
Subject: Harold Peary
Message-Id: <[removed]@[removed]>

Interestng posts about Harold Peary caused me to listen again to Gene Nelson's
interview of Peary sometime in the '70s. Nelson was a long-time San Francisco
radio and television personality and hosted an OTR show on KSFO. Here are his
words on his falling out with the network and sponsors.

Gene Nelson: You were not just a radio actor, you were one of the stars. Did
it pay well?
Harold Peary: Oh Yes! I made as high as - well my biggest week with the
Gildersleeve show - my last salary is $4500.
GN: For the week?
HP: Yes. And I offered to buy the show from the people that owned it and put
it on and loose $2500 a week, you know, put it back in the show, to pay for
the title over a period of two years. I still would have made 2 grand a week.
And they didn't think I had guts enough to quit - so I quit!
GN: So you wanted to own the show in other words.
HP: That's right.
GN: But the network now owns your show. Doesn't NBC have the rights to
Gildersleeve?
HP: No, the network owns the name Gildersleeve, that's all. They don't own
the characterization or anything. The laugh is mine, and I defy anybody to
use it (laughs).

------------------------------------------------------------------------
Transmitted via LiveWire, a Virtual Valley service. Modem: [removed]
(FirstClass, VT-100)  Voice: [removed]; E-mail: online@[removed]

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

Date: Sun, 28 Jan 1996 19:48:48 -0500
From: Kubelski@[removed]
To: [removed]@[removed]
Subject: Pinky & The Brain
Message-ID: <960128192314_208750697@[removed]>

I've just watched an episode of the cartoon series "Pinky & The Brain," about
two mutant lab rats who are trying to take over the world.

The Brain's voice is an imitation of Orson Welles, whom he is drawn to
resemble.

In this episode, the Brain was trying to take over the world by hypnotism,
"clound their minds."  He invades the set of an old radio show called "The
Mist," about an invisible hero (any of this familiar yet?) in order to work
his evil scheme.

He spends most of the cartoon avoiding the varous sound effects (he gets a
door slammed on him, and then has to dodge the hammer the villian is using to
hammer it shut, gets an anvil dropped on his head as part of the big fight
scene, [removed]).  The show closes with the announcer saying, "Sponsored by
Blue Coal.  Good night, and good coal!"

At the end of the cartoon, as always, Brain ends up back in the lab.  Pinky
(his dim-witted assistant) tries to console him by saying, "Maybe you'll
invent a new way to cloud men's minds."

Noting that Pinky is watching TV, Brain replies, "Someone already has,
Pinky."

I also saw another episode in which Brain tries to scare the world into
surrendering to him by staging an alien invasion on television, a cartoon
obviously inspired by "War of the Worlds."

During the episode, Brain keeps insisting, "We are not making this up or
staging a hoax for your benefit.  This is really happening!"

I'm going to keep watching this program for further OTR insides.

I remain obediantly yours,

Sean Dougherty
Kubelski@[removed]

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

Date: Sun, 28 Jan 1996 20:09:18 -0500 (EST)
From: Jim Widner <jwidner@[removed]>
To: [removed]@[removed]
Subject: Bardbury 13
Message-Id: <[removed]@[removed]>

>Good news for Ray Bradbury fans:
>
>Six 1-hour cassettes of the Bradbury 13 series are available in stores.
>Bradbury 13 is a relatively recent production, and all episodes are
>first-class productions. There are two episodes per cassette, so there must
>be one missing.
>
>The cassette I ran across contains Kaleidoscope and There Was An Old Woman. I
>found it in a market/drugstore. It's part of Dunkin Hayes' Paperback Audio
>series. Each cassette sells for 5 bucks. Each is packaged in a color-printed
>cardboard sleeve with a graphic depicting the primary episode (Kaleidoscope
>in this case).
>
>The stereo sound quality is excellent and a short comment by Bradbury is
>included. The other 5 cassettes are: A Sound of Thunder, Dark They Were and
>Golden Eyed, The Man, The Ravine, and The Wind. I don't know what the
>remaining 5 "side two" episodes are, but you can't go wrong with this series.
>I only have the one, but I'll definitely seek out the others.
>

The one missing is probably the interview with Ray Bradbury.  This was the
13 of the Bradbury 13 while the others were dramatizations of Bradbury stories.

While all, as Ron says, are very well done (at least he said something like
that :) ) 
several are not the best that are available.  For example, "The Screaming
Woman" 
was done much better on SUSPENSE starring Margaret O'Brien.  There are excellent
versions of "Kaleidoscope" too, though this one is certainly very good.

-----------------------------------------------------------------------
Jim Widner                      INTERNET: jwidner@[removed]
Dayton, OH                      WWW: [removed]
COMPUSERVE: 74566,3041          AOL: JimWidner  
                          

                                                 

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

Date: Sun, 28 Jan 1996 21:16:19 -0500
From: AndersonCK@[removed]
To: otr@[removed]
Subject: Henry Aldrich films 
Message-ID: <960128211617_408876758@[removed]>

Many of the Paramount/Henry Aldrich flicks with Jimmy Lydon were on Chicago
TV within the last 4-5 years ... I remember, since I recorded several.  Sad
to say for those who want copies, that I have re-used the tapes.  

The films were either on WFLD (Ch 32, now FOX) or WGN (Ch 9).  And as best I
can recall, they were on Saturday or Sunday afternoon, and were running along
with Monogram's Bomba, the Jungle Boy series.    

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

Date: Sun, 28 Jan 1996 23:40:38 -0500
From: JayHick@[removed]
To: otr@[removed]
Subject: Command Performance
Message-ID: <960128234037_129961016@[removed]>

I have just prepared a log of available Command Performance.  The 213 shows
are arranged numerically, each show with up to 4 guests.  Each of the guest
fields are also arranged alphabetically.  Cost is $5 plus $1 for P&H.  Jay
Hickerson, Box 4321, Hamden, CT 06514  (203) 248-2887  FAX (203) 281-1322.

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

Date: Sun, 28 Jan 1996 20:54:55 -0800 (PST)
From: roy547@[removed] (Roy Trumbull)
To: [removed]@[removed]
Subject: Tony Schwartz / NY 19
Message-Id: <[removed]@[removed]>

I would be very interested in corresponding with anyone
who knows Tony Schwartz. His "New York 19" program done
on Folkways had a great influence over me.
Tony went out in the streets with a portable recorder. But
in the 1950s that meant a reel-to-reel clockwork mechanism
with batteries for the electronics. A very nice machine but
not what you'd call light. I rented the same model once. It
was called Magnemite.
But it was Tony's sense of content and editing that made
him the mensch of audio [removed] York 19 was the perfect
example of how to do a documentary. His economy of content and
commentary was just right.

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

Date: Sun, 28 Jan 96 16:17:02 EST
From: TBARNETT@[removed]
To: [removed]@[removed]
Subject: Easy on Howard, now.
Message-Id: <m0tgeTA-000YNuC@[removed]>

 ********************** Reply to note of 01/28/96 15:44 ***********************
From:    Tom Barnett

Subject: Easy on Howard, now.

I agree that Howard Stern has no business in these pages. But in reference
to the Ernie Kovacs comparison let's not get our bonnets in an uproar now.

Howard Stern does the same approach as Rush Limbaugh. So when you listen
to the shows and their public statements you have to separate the message
from the schtick.  Howard doesn't find Ernie funny is all he was saying.
He's certainly not condemning ALL OF OTR for crying out loud.

NOW LET'S DROP ANY FURTHER REFERENCES TO HOWARD AND IMUS AND KEEP THE
DISCUSSION ON THE GOLDEN AGE OF RADIO.   Thank YOU

Tom Barnett
EDS/VDTO Finance and Personnel Systems Support
(810)986-0389 (8-226) Internet:TBARNETT@[removed]

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

Date: Mon, 29 Jan 1996 01:18:38 +0001 (EST)
From: "'A. Joseph Ross'" <lawyer@[removed]>
To: [removed]@[removed]
Subject: Local cable appearance
Message-Id: <[removed]@[removed]>

Apparently because of my postings in this list, I have been invited to 
appear on a discussion of otr on a local cable TV broadcast this 
Thursday.  I'm not sure when the show will air, but it's called "Not 
Quite Live" on Norwood, MA local cable.

======================================================================
A. Joseph Ross, [removed]                                      617/367-0468
15 Court Square                                   lawyer@[removed]
Boston, MA 02108-2573                    [removed]~lawyer/
======================================================================

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

Date: Sun, 28 Jan 1996 23:46:45 -0800 (PST)
From: dstewart@[removed] (dstewart)
To: otr@[removed]
Subject: Old Time Radio
Message-Id: <[removed]@[removed]>

I am a new subscriber to this list and it suggested that I leave a quick
note about myself and interests.

I am relatively young, 36, so the radio shows that I listen to are still
'new' to me and my wife. We have been purchasing cassettes of radio shows,
some of my personal favorites are the Harry Lime series, and sci-fi oriented
shows. My wife is in to more of the contemporary mysteries and suspense
stories. We listen to them at nite before bedtime as a nice change from
reading before bed.

I discovered this list through the RealAudio page, and have listened to some
of the programs through their site. I would like to find more of that
online. Even if it was subscriber oriented.

Thanks all for the time!
_________________________________________

Dave Stewart                             
Snohomish Publishing Co.     
(360)568-1242
snopub@[removed]
_________________________________________

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

Date: Mon, 29 Jan 96 00:50:17 PST
From: seh@[removed] (Stan Harter)
To: otr@[removed]
Subject: RADIO SHACK DX-132
Message-Id: <[removed]@[removed]>

We all received a message about this radio on 13 Jan 1996 in which it was
claimed that this regularly $[removed] radio "is on sale during the month
of January for $[removed]" So, on the 25th, I called several Radio Shacks to
determine availability and confirm the price. I was told by all of them
that the sale was ONLY for the first 7 days of January! They do have a
model DX-390 on sale for $[removed]  Since I don't know anything about
the DX-390 (nothing about in on the OTR) and the DX-132 information
was erroneous, I did nothing.

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

Date: Mon, 29 Jan 96 00:53:31 PST
From: seh@[removed] (Stan Harter)
To: otr@[removed]
Subject: RAD SHACK DX-392 NO SALE!
Message-Id: <[removed]@[removed]>

To: otr@[removed]
Subject: RADIO SHACK DX-132
 
We all received a message about this radio on 13 Jan 1996 in which it was
claimed that this regularly $[removed] radio "is on sale during the month
of January for $[removed]" So, on the 25th, I called several Radio Shacks to
determine availability and confirm the price. I was told by all of them
that the sale was ONLY for the first 7 days of January! They do have a
model DX-390 on sale for $[removed]  Since I don't know anything about
the DX-390 (nothing about in on the OTR) and the DX-132 information
was erroneous, I did nothing.
 

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

    


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---- 
End of [removed] Digest V96 Issue #38

