Subject: [removed] Digest V01 #175
From: <[removed]@[removed]>
Date: 6/7/2001 8:21 AM

To: <[removed]@[removed];

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

                          The Old-Time Radio Digest!
                             Volume 01 : Issue 175
                       A Part of the [removed]!
                               ISSN: 1533-9289

                               Today's Topics:

     "Tomorrow the World"                 [Dennis W Crow <DCrow3@[removed]]
     Olan Soule                           ["Stephen A Kallis, Jr." <skallisjr@]
     Monkey See, Monkey Do?               ["Stephen A Kallis, Jr." <skallisjr@]
     Marilyn Monroe                       ["Martin Grams, Jr." <mmargrajr@hotm]
     Please, no more non-Napster/RS Discu ["michael edwards" <medwards_47@hotm]
     Re: SONNY BONO Amendment             [SanctumOTR@[removed]                 ]
     Ellery Queen                         [Dan Hughes <danhughes@[removed];    ]
     speaking of [removed]                ["randy story" <BYGEORGE@[removed];  ]
     Move Over [removed] comes Televis ["Dennis Cotter" <cotter@[removed]]
     Saint Carl of Amari                  [Jack A French <otrpiano@[removed]; ]
     Re:reply to Mr. Tollin               [Eric Cooper <ejcooper2001@[removed];]
     RADIO -RELATED 16MM FILMS            ["Owens Pomeroy" <opomeroy@[removed]; ]
     Snake Dance                          [George Aust <austhaus1@[removed]]
     Fran Allison                         ["A. Joseph Ross" <lawyer@[removed].]
     Olan Soule                           ["A. Joseph Ross" <lawyer@[removed].]
     Copyrights                           [OTRChris@[removed]                   ]
     hot lips                             [Michael Berger <intercom1@attglobal]

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

    Date: Wed, 6 Jun 2001 22:31:19 -0400
    From: Dennis W Crow <DCrow3@[removed];
    To: OTR Digest <[removed]@[removed];
    Subject:  "Tomorrow the World"

    Harlan Stone mentioned the play, "Tomorrow the World,"  which opened in
    early 1943 on Broadway.  No play received an award that year from the New
    York Drama Critics Circle, but John Chapman of "The Daily News" voted it
    the best play of the year.  That would not necessarily be news,  but
    "Tomorrow the World" opened the same year as Lillian Hellman's "The
    Searching  Wind."  Hellman's play lost because of the one vote for
    "Tomorrow the World." [ THE NEW YORK TIMES DIRECTORY OF THE THEATER: New
    York Times Company, 1973] .  The play obviously was good and deserved its
    more than one year on the road with Paul McGrath, Harlan Stone, and
    company.

    .As Harlan mentioned, the Broadway original starred Ralph Bellamy, whose
    1979 autobiography, WHEN THE SMOKE HITS THE FAN (Doubleday), discusses
    "Tomorrow the World."  It has a radio connection.

    In Bellamy's words, "At the end of 1943 the Blue Network acquired a new
    president by the name of Nolan.  They produced an elaborate New Year's Day
    program from New York, representing all phases of our society and culture
    and peering into 1944.  I was on the program because I was in "Tomorrow the
    World." (p. 187).

    Bellamy writes, "The play  concerned a true incident of the effort by
    America to rehabilitate Nazi youths by bringing them over here into
    American homes.  In reality, the effort upon which the play was based was
    unsuccessful and the people who'd  'adopted'  the Nazi boy sent him back to
    Germany.  The Nazi indoctrination had penetrated too deep." (p, 186)

    Until Harlan mentioned it, I had never heard of this play. Nor had I heard
    of America's efforts to rehabilitate Nazi youth.   Skip (Skippy) Homeier
    played the boy's role on Broadway and I am assuming this is the part that
    Harlan assumed on tour.

    We all know Harlan Stone as a good  actor, and  I am delighted he is
    contributing to this forum.  This theatrical part, given the tenor of the
    times and eventually what Bellamy describes happens to the youth, must have
    been an incredibly difficult character to sustain. It is certainly to
    Harlan Stone's credit that he lasted a year in the role.

    I am wondering if Harlan desires to comment  about his work with this play.
     I hope it's not one of those things he is reserving for his book which he
    has already told us  he is writing. I am particularly interested in how
    audiences reacted  to his characterization.

    Dennis Crow

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

    Date: Wed, 6 Jun 2001 22:31:30 -0400
    From: "Stephen A Kallis, Jr." <skallisjr@[removed];
    To: [removed]@[removed]
    Subject:  Olan Soule

    Dave Phaneuf asks, of Olan Soule,

>     Didn't Olan Soule also have one of the lead roles in the 1950's TV
>     version of Captain Midnight?

    He was "Tut, the Science Wizard."

    On the radio version of Captain Midnight (the "real" one), he was Kelly,
    SS-11, the usual channel to major Steele.

    Stephen A. Kallis, Jr.

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

    Date: Wed, 6 Jun 2001 22:32:57 -0400
    From: "Stephen A Kallis, Jr." <skallisjr@[removed];
    To: [removed]@[removed]
    Subject:  Monkey See, Monkey Do?

    Andrew Emmerson., speaking of copyrights, notes,

>     Under European law, and I suspect American law, a new copyright is
>     created when material that
>     was previously out of copyright is re-packaged.

    As noted, the package design can be copyrighted, additions can be
    copyrighted ([removed], the colorization of a monochrome Public Domain film),
    and the like, but the _original work_ can't.  Hypothetically, suppose
    there was an OTR production of Aristophenes' The Birds that fell into
    Public Domain.  Someone discovers an old transcription disk of this and
    records from it.  A copy of this recording is acquired by an audio
    company that transfers it to CD, creates a really neat jewel-case
    carrier, with nice artwork.  All the wrappings of the package could be
    copyright, but not the original sounds.

>     .. anyone who then uses this 'pressing' to run off further copies is
>     guilty of copyright theft. That's fact and I suspect this is the basis on
>     which certain parties are now claiming their products are copyright.

    I doubt this is the basis of certain Cease & Desist letters.  The OTR
    shows were in circulation long before "major companies" issued copies.
    It is highly unlikely that the dealers being contacted were so
    unscrupulous as to buy stuff from a "major manufacturer" with the express
    purpose of reselling the sound.  Nor are the other dealers copying
    artwork, packaging, etc.  This makes this argument a little specious.

    Stephen A. Kallis, Jr.

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

    Date: Wed, 6 Jun 2001 22:34:00 -0400
    From: "Martin Grams, Jr." <mmargrajr@[removed];
    To: [removed]@[removed]
    Subject:  Marilyn Monroe

    Dan Panke asked:

    Did Marilyn Monroe ever do any radio broadcasts?

    She sure did.  She didn't do as much as some Hollywood stars, but here's a
    partial list:

    MARILYN MONROE

    The Lux Radio Theatre  (2/24/47)  ėKittyî  with Paulette Goddard and Patrick
    Knowles.
    The Charlie McCarthy Show  ([removed])  I have the exact date in a log
    somewhere, but not on hand.
    Hollywood Star Playhouse  (8/31/52)  ėStatement in Fullî  - This script was
    later performed with Joan Crawford in the role, and on radio's SUSPENSE in
    mid-1950s.
    The Martin and Lewis Show  (2/24/53)  Monroe was guest on the show.

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

    Date: Wed, 6 Jun 2001 22:33:59 -0400
    From: "michael edwards" <medwards_47@[removed];
    To: [removed]@[removed]
    Subject:  Please, no more non-Napster/RS Discussions

    Had to get my two cents in here.  I think the Napster/RS thread is one of
    the most interesting threads to pop up in months.  It's so informative, and
    really impacts the future of OTR.  What I can't believe is that other people
    would completely ignore this issue, and instead post on other boring topics.
      Geez, I mean do we really need one more welcome to Harry Bartell or one
    more gush for Liz McLeod?  [removed] already!  This list should be all
    copyright, all the time!

    The preceding paragraph was completely ridiculous.  But, no more so than
    those missives fired by those who wish to stifle the Napster/RS thread.  I,
    and many others, find the thread interesting.  If you don't, skip it.
    Better yet, take the iniative and do what some other posters who are
    obviously uninterested have done: Start non Napster/RS discussions.  The
    list is big enough for all OTR-related discussion, which this is.  Why would
    anyone want to stop a discussion, just because they personally weren't
    interested in it?

    Michael Edwards

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

    Date: Wed, 6 Jun 2001 22:34:40 -0400
    From: SanctumOTR@[removed]
    To: [removed]@[removed]
    Subject:  Re: SONNY BONO Amendment

    In a message dated 6/6/01 7:02:29 AM, Michael Biel writes:

>     All of this has happened because most copyrights are corporate held and
>     these corporations and their industry lobbying groups have a very strong
>     presence in the hallways of our Capitol building.  One of the most
>     recent extensions was passed by Congress to honor one of their fallen
>     colleagues--one of the greatest recording artists of the 20th century,
>     an outstanding politician, and a skillful skier----------Sonny
>     Bono???????????  This gives you an idea of how easily our legislators can be
>     swayed by a lot of money, lavish parties, and a hint of glamorous stars in
>     their
>     midst.  The USERS of copyrighted material--meaning us--had no say in this
>     matter.  <SNIP> The Public Good be damned.  What is good for BUSINESS is all
>     that is
>     important, because Business is where the Re-Election Fund money can be
>     found.

>     All this sob-story about copyrights protecting the composers
>     and writers is hogwash.  Remember, most copyrights are corporate held.

    ***Mr. Biel hasn't mentioned that one of the elements of Sonny Bono Amendment
    provided a means for composers, authors, creators and their immediate
    families to regain copyrights.  The amendment recognized that creators who
    had been forced to sign work-for-hire agreements (selling their copyrights)
    had done so with the understanding that copyrights were only valid for a
    maximum of 56 years (the original 28 year term plus one renewal period).  The
    Bono Amendment provided the opportunity for the original creators, their
    widows and dhildren to take back the copyright after the original 56 years
    was up, and by a simple act of application without having to sue.

    This was reportedly done by Jerry Siegel's widow and daughter.  According to
    internet reports of a year or so ago, they had done so and now may own 50% of
    the Superman copyright.  (Joe Shuster died without a widow or children so his
    half of the creation is apparently safely held by DC comics and its parent
    company, AOL Time Warner.)  There were also unconfirmed reports at the time
    that Siegel's heirs had rejected a $6 million buyout offer, and there are
    reports that Joe Simon has filed a similar aplication for the copyright on
    Marvel's Captain America.

    The amendment apparently only affects properties that were created
    independently, exempting many comic, radio and Hollywood creations that were
    created by a committee of staff editors.  Some characters, like Superman and
    Captain America were created by independent writer artists and later sold.
    (In the case of Superman, after five years of rejections from other
    publishers who had a chance to pick up the character.) Apparently, the
    amendment has a time limit (two years?) within which such applications must
    be filed after the original term expires.  It would have been nice if Fran
    Striker's family had been aware of such provisions and had been able to
    reacquire the LONE RANGER copyright or a major portion of it.

    So there appear to be portions of the Sonny Bono Amendment that are not in
    the best interests of corporations but were enacted with a standard of
    fairness to creators and their families.  Will Rogers said it best 70 years
    back: "America has the best politicians that money can buy."  All too often,
    money does.  But portions of the amendment appear to have been enacted
    because there was a very likeable celebrity in Congress, the balk of whose
    income came from music copyrights that would one day become public domain and
    be targets for unauthorized publication.  I suspect that Bono's presence as a
    creator/composer may have conteracted some of those lasvish parties and
    campaign funds given by corporations.

    You point out that the users of copyrighted material had no say in the
    matter.  Personally, I think the creators themselves . . . and their
    immediate families . . . deserve more say in the protection of their
    creations than bystanders and especially Napster.  People are living longer
    these days, and I would prefer to see elderly creators and their spouses and
    children sharing in the profits.

    Napster hasn't paid creators/composers/musicians/authors for their work.
    Napster wasn't responsible in any way for the creation of such products.  A
    lot has been written on this list about Radio Spirits' claim to all the
    programs they release.  The fact is, a lot of creators, stars, families of
    stars, etc. are receiving income from RSI, and RSI has invested a lot into
    the promotion of OTR.  Napster has not.

    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?

    Again, the above comments are made by me as an independent freelance writer
    and not as a representative of RSI (which I am not). --ANTHONY TOLLIN***

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

    Date: Wed, 6 Jun 2001 22:35:10 -0400
    From: Dan Hughes <danhughes@[removed];
    To: [removed]@[removed]
    Subject:  Ellery Queen

    Jim Strouf sez:

>      I always kept track of which shows of mine were downloaded. The winner
>     by far was Ellery Queen. That totally
>     surprises me.

    Not me.  Because the huge majority of people who use(d) Napster were not
    OTR buffs.  They would not recognize names like Lum and Abner or My
    Favorite Husband, but Ellery Queen is quite well-known outside the OTR
    field.

    ---Dan, [removed]~dan (spiffy home page, with OTR links)

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

    Date: Wed, 6 Jun 2001 22:35:48 -0400
    From: "randy story" <BYGEORGE@[removed];
    To: <[removed]@[removed];
    Subject:  speaking of [removed]

    hi folks.
    as an infrequent contributor to, but an avaracious reader of, this OTR
    board, i have found the recent "battle" concerning RSI/ NAPSTER both
    enlightening and annoying. i will not add my two cents regarding the subject
    itself because my voice on the subject would not approach the eloquence i
    have seen demonstrated herein these last few days. wow!
    there.
    i wrote [removed] i feel releived to have done so.
    with that said, i have a small question concerning a related [removed] that
    i HOPE will not touch off another jihad(holy war) over rights and the like.
    i teach theatre in a small community in missouri and i find that my students
    tend to relate well to two things: OTR and THE TWILIGHT ZONE. as such, i
    feel that we could produce short plays based on episodes from some OTR
    series(not recreations) as well as the TZ. these would be for our local
    community and eventually i would be able to offer them in play
    catalogues.(this is where the idea has thorns).
    my question is: where do i begin to find out if i can legally do this?
    one would suspect the original author of the material, but judging from the
    knowledge i have obtained here in the last several postings, i fear that may
    be incorrect. would i contact CBS about the TZ and GUNSMOKE or other
    parties?
    i hope that some of our more knowledgeable posters might be able to help me
    with this issue.
    thanks.
    i would appreciate any help with this matter either through a board posting
    or private email.

    sincerely,
    randy("i-hope-i haven't-ruffled-any-feathers") story

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

    Date: Wed, 6 Jun 2001 23:00:50 -0400
    From: "Dennis Cotter" <cotter@[removed];
    To: <[removed]@[removed];
    Subject:  Move Over [removed] comes Television

    Just received an unsolicited email from "Radio Spirits"
    seems they want to to sell me their discounted TV Video Episodes.
    Of Bonanza, Man From Uncle, and the Like.
    I don't remember watching any of those shows on Radio before.!
    Does this mean now that anyone selling any Old TV Series Episodes
    on Video Tape will received a nasty "letter from the RS lawyers"
    claiming copyright infringment?

    ~ Dennis Cotter

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

    Date: Wed, 6 Jun 2001 23:11:04 -0400
    From: Jack A French <otrpiano@[removed];
    To: [removed]@[removed]
    Subject:  Saint Carl of Amari

    We've read several comments of folks who appreciate Carl Amari. But the
    strongest applause comes from Mike Ray who nominates Carl for induction
    into the Radio Hall of Fame, apparently based upon Carl's sainted
    generosity, good will, love of OTR, and kindly care of all his customers.

    Ray's praise caused me to feel a warm, rosy glow which almost eliminated
    all of my uncomfortable memories of dear ol' Carl.

    I can recall Carl first appearing at the Newark FOTR Convention many years
    ago, a smiling lad, with cheek of tan, throwing his arm around all the OTR
    dealers, praising, and buying, their tapes. He had lists of missing shows
    which the dealers scrambled to find for this enthusiastic kid. Carl was
    even at my table a few times at the Newark FOTR banquet, and I remember
    thinking: "This young fellow will have an impact on our hobby." (How right
    I was!)

    Since then, I've talked to many dealers who were so pleased to find, and
    then sell, all their special holdings to this fine young man who seemed to
    have boundless energy and piles of money. Sound quality was no big concern
    to ol' Carl. "I'll get my people to clean these up" he told the dealers,
    with a friendly jab in the ribs.

    So we flash forward about 12 years, and ol' Carl is the Big Boopah of OTR,
    claiming, but never proving, that he has acquired exclusive rights to
    virtually any series that every other OTR dealer could have in inventory.
    Moreover, his legal staff of hired guns generate reams of vague "Cease &
    Desist" orders that terrify most OTR dealers (including all the ones who
    helped him in the past) but somehow thse court bullets never say exactly
    which shows ol' Carl is claiming he owns, nor his legal basis for such
    claims.

    Jack French

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

    Date: Thu, 7 Jun 2001 10:20:21 -0400
    From: Eric Cooper <ejcooper2001@[removed];
    To: [removed]@[removed]
    Subject:  Re:reply to Mr. Tollin

    I understand Mr. Tollin's position and views, in spite of his disclaimer
    about not speaking for RS.

    I believe my  legal standing in recording shows obtained off the internet
    for my own personal use ONLY, is the same legal position that anyone who
    uses a VCR to tape a favorite movie off of Turner Classic Movies or
    American Movie Classics is in.  To apply royalty arguments to those folks
    would be ludicrous and the same should go for the brave new world of MP3's
    for PERSONAL USE.

    Eric Cooper

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

    Date: Thu, 7 Jun 2001 10:20:18 -0400
    From: "Owens Pomeroy" <opomeroy@[removed];
    To: [removed]@[removed]
    Subject:  RADIO -RELATED 16MM FILMS

      Before they were available on Video Cassettes, I was a collector of
    Radio-Related Vintage Movies of the 30's and 40's on 16mm Sound Film.  I had
    such shows as Heavenly Days, Buck Benny Rides Again, It's A Joke Son, etc.
    and such Cliffhangers as Gangbusters and The Green Hornet, Batman and Drums
    Of Fu Manchu.

      These films were available through a Fan publication called "THe Big
    Reel," which is still in circulation and contained more than [removed] different
    films to choose from, and through a Collector's Club, The 16mm Movie Club
    It worked similar to the audio tape trades between collectors, as we had our
    individual catalogs.

      The reason I am mentioning this is that for twenty years or more I was
    collecting and trading 16mm Films and there was never a question from any of
    the "powers that be" to stop what we were doing. After awhile I ceased to
    collect these as the postage rates for shipping these films became outrages,
    so I switched to collecting Videos from the same two clubs when they added
    them to their inventory.

       As far as I know, there has not been any crack down on either one of
    these publications, since they are still in business today.
    I still have my old Bell & Howell and Kodak projectors, and show films from
    my more than 30 in my collection every once in awhile at the local Senior
    Center.  Just like a Movie Show!

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

    Date: Thu, 7 Jun 2001 10:20:13 -0400
    From: George Aust <austhaus1@[removed];
    To: [removed]@[removed]
    Subject:  Snake Dance

    When Grahm Newton posted his plea for help in identifying this tune, I
    sang it to my wife from the notes he include. She knew it immediately
    and not only that she sang the words to it. Yes there are words (I
    wouldn't call them lyrics). Here for your edification are the words she
    learned in Jr. High school.
          "There's a place in France.
            where the women wear no pants;
            And the men walk around,
            with their ***** hanging down."

    Now she says that she is not censoring  the word but that she doesn't
    remember it.
    As for me I have no comment!

    George Aust

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

    Date: Thu, 7 Jun 2001 10:20:11 -0400
    From: "A. Joseph Ross" <lawyer@[removed];
    To: [removed]@[removed]
    Subject:  Fran Allison

>     Date: Wed, 6 Jun 2001 07:56:42 -0400
>     From: "mutineer" <mutineer@[removed];

>      Changing the subject now, I have one question for the group. When I was a
>     kid, my favorite lady was Fran Allison. Was she ever in other radio shows
>     besides Breakfast Club?

    I don't know about radio shows, but she was a regular on the pioneer kids
    TV show "Kukla, Fran, and Ollie."

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

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

    Date: Thu, 7 Jun 2001 10:20:09 -0400
    From: "A. Joseph Ross" <lawyer@[removed];
    To: [removed]@[removed]
    Subject:  Olan Soule

>     Date: Tue, 5 Jun 2001 23:13:04 -0400
>     From: "David Phaneuf" <dphaneuf@[removed];

>     Didn't Olan Soule also have one of the lead roles in the 1950's TV version
>     of Captain Midnight?

    Yes.  He played the part of Aristotle Jones, or "Tut," the Secret
    Squadron's chief scientist.  He also had a recurring role as a police
    scientist on the TV version of Dragnet.  I think he played a similar sort
    of scientist type on other shows as well.

    What I'd like to know about Captain Midnight is how the Secret Squadron
    was funded.  On TV, Captain Midnight had an elaborate mountain-top
    headquarters with fancy technology, a state of the art jet plane, a car,
    and two sidekicks, Icky and Tut, etc.  It was never said that he was
    wealthy like Bruce Wayne or the Lone Ranger.  I assume that only the
    government could have afforded to pay for that setup.  Did they ever say
    on the radio how the Secret Squadron was funded?

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

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

    Date: Thu, 7 Jun 2001 10:20:06 -0400
    From: OTRChris@[removed]
    To: [removed]@[removed]
    Subject:  Copyrights

    SanctumOTR@[removed]  writes:

>     One lister recently questioned whether Joan Benny, etc. actually owned the
>     complete rights to their parents' shows.  Well, personally, I'd like to think
>     that Joan and the kids of George and Gracie, Edgar Bergen, etc. were getting
>     something for the commercial use of their parents' talents.

    Maybe we would like to think so but it is hardly likely  in most cases.  Do
    you recall all those TV shows of the 60s ?
    How many  performers do you think are being paid  for their appearances
    today?
    Paramount owns  both  STAR TREK  and  MISSION :  IMPOSSIBLE.
    I specifically mention these  two shows as I have  heard stated by Leonard
    Nimoy  (who was a regular on both series ) that the standard contract
    included  payment for the initial  broadcast and  six  re-airings.  In  other
    words  he hasn't
    seen  a dime in residuals from these shows in over 30 years.  Just appearing
    in a program does not give you ownership.
    Even the creators and producers  of these shows often have given most of the
    ownership (if not all ) to the studios .
    And when MISSION was resurrected  in 1988 as a series on ABC  they began to
    reshoot  old scripts . Not only were  the original writers  NOT  paid they
    often were not even credited .  That does not mean that every show  was like
    this  . Frankly , it all depended on the specific contract.  But today
    Martin Landau , Barbara Bain ,  Leonard Nimoy and George Takei   [removed] will
    not come knocking on your door for copyright infringement  ---Paramount will.
    And think about it ... these shows have been released on Video and these
    performers do not receive any compensation.
    Paramount  has guarded these copyrights  and contains the negatives  in a
    vault .
    If we  look at the OTR situation   in the same way we can see why
    determining who controls the rights would be more difficult.  First off the
    recordings (unlike the Paramount situation )  usually were not preserved and
    kept in the  rights owners protected vault . And furthermore, many of the
    recordings only survive because some radio enthusiast recorded it off the air
    in 1950.  Or what about when the source disc clearly states that the
    recording is not intended or licensed  for broadcast purposes or was to be
    destroyed after airing.  Now someone claims rights to this show?

    I also find it hard to  really fight on behalf of  supposed rights holders
    who did nothing in the way of preserving these programs. If left to the
    original owners  these shows would not exist today and the discussion would
    be moot.

    The Radio Spirits group always comes under attack when copyrights is the
    discussed topic mainly because it is perceived   that  they claim  exclusive
    rights to OTR  programs that many people doubt that they have . And
    their  failure to identify such shows  when writing their cease and desist
    letters heightens this perception.

    In defense of RS  I must say that it is wrong for anyone to reproduce and
    mass distribute copies of any  re-mastered
    RS show . The remastered  recording   certainly belongs  to RS and they
    deserve the profits for their effort   even of it is a show in the  public
    domain . However,  this does not preclude another distributor from offering
    the same public domain show from their own   source.

    This arguement  as to  whether or not someone owns such and such should
    really move to the next level .
    What I mean  is that some really good researchers among us should enlighten
    the OTR community on how to go about
    researching specific ownership  and copyrights.  Share with us what you know
    about the ownership of specific  shows.

    On a different note :

        I recall  maybe  15 years ago (perhaps a few years more)  I could do a
    little dial twisting on my radio and hear various radio stations
    broadcasting OTR . Usually  in  the evening hours  (radio fringe time) .  The
    tapes seemed to be supplied by Hobbyists. I would could hear  OTR  7-8 PM  on
     KTNT  Tacoma   /9:00-11PM  KFBK Sacramento ,KXLY  Spokane,
    KYXI  Oregon City Portland , 11-12pm  CKNW  Vancouver BC.
    It was great  .  Each  station would  have their  own mix of series with
    limited commercial interuptions . But then something happened.  Evening radio
    became profitable again with  National  talk programs and again radio said
    goodbye to OTR.  The hobbyist OTR presentations are practically gone . Now if
    I hear OTR I know it must be "When Radio Was ".
    So rather than five stations playing a large selection of OTR they are all
    playing  "When Radio Was" . And "When Radio
    Was"  being a syndicated program for a national market it does not quite have
    the freedom of locally aired OTR.
    (ie ... more commercial interuptions , and less time for content in the
    hour).

    But on a positive note it seems like OTR is much more available  than it used
    to be. (ie via  radio clubs  and dealers)  And for that I am happy  :  )

    -Chris

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

    Date: Thu, 7 Jun 2001 10:20:04 -0400
    From: Michael Berger <intercom1@[removed];
    To: otr <[removed]@[removed];
    Subject:  hot lips

    I  remember that voice on the Durante show. Now I wonder: who did
    that voice?

    Speaking  of  which:  listened  to an old Gildy show recently and
    when  his  maid,  Beulah, came on, the audience went bananas. She
    was  funny,  but  THAT  funny?,  I thought. Then I remembered; 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?

    Michael Berger

    --------------------------------
    End of [removed] Digest V01 Issue #175
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