Return-Path: X-Processed-By: Virex 7 on prxy.net X-Real-To: stagecraftlist [at] theatrical.net Received: by prxy.net (CommuniGate Pro PIPE 4.2.6) with PIPE id 11778231; Sat, 01 Jan 2005 03:00:54 -0800 X-ListServer: CommuniGate Pro LIST 4.2.6 List-Unsubscribe: List-ID: Message-ID: From: "Stagecraft" Sender: "Stagecraft" To: "Stagecraft" Precedence: list Subject: Stagecraft Digest #245 Date: Sat, 01 Jan 2005 03:00:41 -0800 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline X-Spam-Level: X-Spam-Status: No, score=-5.4 required=5.0 tests=ALL_TRUSTED,AWL,BAYES_00 autolearn=ham version=3.0.2 X-Spam-Checker-Version: SpamAssassin 3.0.2 (2004-11-16) on prxy.net X-TFF-CGPSA-Version: 1.4f2 X-prxy-Spam-Filter: Scanned For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Stagecraft Digest, Issue #245 1. Re: A new one, but related to: RE: DMX512 Question by "Randy B." 2. Re: Tirfor/Griphoist question by Cosmo.A.Catalano [at] williams.edu 3. Re: Puccini, Butterflies, etc by IAEG [at] aol.com 4. Re: Tirfor/Griphoist question by IAEG [at] aol.com 5. Re: Intellectual property rights by Reid G Johnson 6. Re: Puccini, Butterflies, etc by "Tony" 7. fire in night club in argentina by Theatre Safety Programs 8. Re: Tirfor/Griphoist question by Jared Fortney 9. Re: Tirfor/Griphoist question by Dale Farmer 10. Re: Interlectual [sic] property rights by 11. Re: Tirfor/Griphoist question / Moscow Circus by IAEG [at] aol.com 12. Re: Intellectual property rights by FREDERICK W FISHER 13. Loud Lights by 14. A Quick Note... by "Carson Koz Noel at LSFX Co." 15. Re: Intellectual property rights by IAEG [at] aol.com 16. Re: Loud Lights by IAEG [at] aol.com 17. Re: Interlectual [sic] property rights by "ladesigners [at] juno.com" 18. Re: Loud Lights by FREDERICK W FISHER 19. Re: Interlectual [sic] property rights by IAEG [at] aol.com 20. Re: Intellectual property rights by FREDERICK W FISHER 21. Re: Intellectual property rights by "ladesigners [at] juno.com" 22. Re: Interlectual [sic] property rights by "Dr. Randall W.A. Davidson" 23. Re: Loud Lights by Herrick Goldman 24. Re: fire in night club in argentina by "Dr. Randall W.A. Davidson" 25. Re: Loud Lights by "Jason" 26. more copyright stories from Richard by "RICHARD FINKELSTEIN" 27. This Month in Theatre History is back by "RICHARD FINKELSTEIN" 28. Re: more copyright stories from Richard by Pat Kight 29. Re: fire in night club in argentina by Dale Farmer *** Please update the subject line of your reply to use the subject *** line of the message you are replying to! Please only reply to *** one message subject in each reply. ---------------------------------------------------------------------- Message-ID: <00e801c4ef33$84ea1380$640aa8c0 [at] GLOBAL.SCJ.LOC> From: "Randy B." References: Subject: Re: A new one, but related to: RE: DMX512 Question Date: Fri, 31 Dec 2004 06:23:21 -0600 ----- Original Message ----- From: "Jerry Durand" To: "Stagecraft" Sent: Tuesday, December 28, 2004 4:06 PM Subject: Re: A new one, but related to: RE: DMX512 Question <> > I don't understand people's logic at times. > Money ............ May have been or perceived to be cheaper at leats in the sort term. (who cares about the next guy ley him fix it). I have run into this one too many times Randy ------------------------------ Date: Fri, 31 Dec 2004 07:40:43 -0500 From: Cosmo.A.Catalano [at] williams.edu Subject: Re: Tirfor/Griphoist question In-reply-to: Message-id: <1104496843.41d548cb9046b [at] imp.williams.edu> References: Jared-- I've used a griphoist several time doing trail work (lifting and dragging large rocks). I've never seen one of these fail, the shear pin goes well before the breaking point of the 1/2" wire rope we use. From other wire rope failures I've seen the aftermath of, my guess would be that if the jaws and rope are clean, the rope will break at the point where it enters the load side of the jaws, with a dirty mechanism, I'd bet failure starts with some slippage. These things are remarkably strong, what--if any--failure did you experience? Cosmo ------------------------------ From: IAEG [at] aol.com Message-ID: Date: Fri, 31 Dec 2004 10:36:12 EST Subject: Re: Puccini, Butterflies, etc In a message dated 12/30/04 10:39:16 PM, ostroff [at] operaphilly.com writes: >Sorry, copyrights and royalties are not really my area of expertise in >the >world of opera. However I would assume that even if his compositions are > >falling into the public domain, the scores which we all use from the usual > >publishers (Ricordi, Schirmer) are still protected by copyright. ahh, , we are talking about two different forms of copyright, , the protection of the actual printed page and the protection of live performance performance rights, when a piece falls into public domain,, but you go and spend time , money etc type setting music you can protect the actual printed work, , so that someone can't go and photo copy it and re publish it. There are however certain music publishers that do nothing BUT re publish old printed music that is in fact entirely in public domain, both the performance rights AND the actual printed publication. To the best of my knowledge I think that TURANDOT is still completely copyrig ht protected where as most of the other Puccini works have fallen into public domain ( you may still have to pay to rent the scores and sides ) Have you ever noticed that NPR stations NEVER play a new broadway CD beginning to end ? Once you play more than one song, and in sequence it's no longer an ASCAP / BMI issue, it's GRAND RIGHTS which can only be negotiated with the copyright holder. as for BRING HIM HOME / HUMMING CHORUS you are dead on, , the first time i heard that I went "huh? " As for Sir Andrew L Webber, , his own father has been quoted as saying that he owes the Puccini family a debt of gratitude, I was listening to Girl of the Golden West and there's a section of the Act I duet that seems like the source of much of "Music of the Night" from POTO. It's not Puccini, , but I've always said that if you take MEMORY from CATS and speed it up, , put a little drum beat behind it, , it bears an un canny resemblance to RAVEL'S BOLERO, , but then I could be completely wrong. very best, Keith Arsenault IAEG - International Arts & Entertainment Group Tampa, Florida 813 831 3465 Mr. Arsenault's Office 813 205 0893 Mr. Arsenault's Cellular www.iaeginc.com ------------------------------ From: IAEG [at] aol.com Message-ID: <104.5794ae2d.2f06cd5c [at] aol.com> Date: Fri, 31 Dec 2004 10:42:20 EST Subject: Re: Tirfor/Griphoist question In a message dated 12/31/04 7:42:01 AM, Cosmo.A.Catalano [at] williams.edu writes: >Jared-- > >I've used a griphoist several time doing trail work (lifting and dragging >large > >rocks). I've never seen one of these fail, the shear pin goes well before >the > >breaking point of the 1/2" wire rope we use. > >From other wire rope failures I've seen the aftermath of, my guess would >be that > >if the jaws and rope are clean, the rope will break at the point where >it > >enters the load side of the jaws, with a dirty mechanism, I'd bet failure > >starts with some slippage. > > > >These things are remarkably strong, what--if any--failure did you experience? > > > >Cosmo > > the only trouble I have had with Tirfor/ Griphoists etc is in the actual cable handling internally. one has to be terribly careful to a) use only the EXACT cable specified by the manufacturer ( remember these are usually euro built and the cable specs are often metric ) and routine maintenance, disassembly and lubrication is important. I have seen grip hoists that get "out of sync" start to buckle and "open up" the twisted strands internally and it's a pain in the butt to deal with, especially if there is a load on the cable and you still need to move it. there is a brand of hoist that is made in the CZECH REPUBLIC, , , do not, , I repeat do not purchase this hoist, they are bad news. Not certain the exact name of the company, but they are green in color and have the CZECH label on them prominently. I have had the misfortune to use these to put up large Euro style circus tents ( for those who don't know what I mean, , like the Soleil, Big Apple tents ) and they are trouble, they may be less expensive than the more familiar brands, but NOT worth it very best, Keith Arsenault ------------------------------ Message-Id: Date: Fri, 31 Dec 2004 10:58:38 -0500 From: Reid G Johnson Subject: Re: Intellectual property rights Keith Arsenault wrote: >although you have to admit that legal protection, , either copyright or >patent is being given these days for such "general" things ( i e >the whole Source >Four issue, as well as the "sound of a Harley Davidson exhaust ) that would >NEVER have been considered as "protectable" by the federal agencies years ago, >so ya never know, , > And STILL not considered protectable. Harley fought that fight and lost. The sound was NOT protectable. I do not remember the venue where the decision came from. I am thinking it was a court where they were arguing the denied case for protection. They were unsuccessful. best, reid -- ------------------------------------------- Reid G Johnson Utica, MI Team Pterodactyl Logistics and Stats '93 BMW K1100GS .....o~'o ------------------------------------------- ------------------------------ Message-ID: <072d01c4ef51$e5e201c0$0800000a [at] Tony> From: "Tony" References: Subject: Re: Puccini, Butterflies, etc Date: Fri, 31 Dec 2004 16:00:44 -0000 ----- Original Message ----- From: To: "Stagecraft" Sent: Friday, December 31, 2004 3:36 PM Subject: Re: Puccini, Butterflies, etc > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > > In a message dated 12/30/04 10:39:16 PM, ostroff [at] operaphilly.com writes: > > >Sorry, copyrights and royalties are not really my area of expertise in > >the > >world of opera. However I would assume that even if his compositions are > > > >falling into the public domain, the scores which we all use from the usual > > > >publishers (Ricordi, Schirmer) are still protected by copyright. > > > ahh, , we are talking about two different forms of copyright, , the > protection of the actual printed page and the protection of live performance > performance rights, when a piece falls into public domain,, but you go and spend time > , money etc type setting music you can protect the actual printed work, , so > that someone can't go and photo copy it and re publish it. There are however > certain music publishers that do nothing BUT re publish old printed music that > is in fact entirely in public domain, both the performance rights AND the > actual printed publication. > > To the best of my knowledge I think that TURANDOT is still completely copyrig > ht protected where as most of the other Puccini works have fallen into public > domain ( you may still have to pay to rent the scores and sides ) > > Have you ever noticed that NPR stations NEVER play a new broadway CD > beginning to end ? Once you play more than one song, and in sequence it's no longer an > ASCAP / BMI issue, it's GRAND RIGHTS which can only be negotiated with the > copyright holder. > > as for BRING HIM HOME / HUMMING CHORUS you are dead on, , the first time i > heard that I went "huh? " > > As for Sir Andrew L Webber, , his own father has been quoted as saying that > he owes the Puccini family a debt of gratitude, I was listening to Girl of the > Golden West and there's a section of the Act I duet that seems like the > source of much of "Music of the Night" from POTO. It's not Puccini, , but I've > always said that if you take MEMORY from CATS and speed it up, , put a little > drum beat behind it, , it bears an un canny resemblance to RAVEL'S BOLERO, , but > then I could be completely wrong. > > > very best, > > Keith Arsenault > It has in fact often been said that there is no such thing any more as new music - just new arrangements/rearrangements! Could very possibly be true! (There's only so many ways you can arrange those li'l black dots!!) ------------------------------ Message-Id: <6.2.0.14.2.20041231093843.01fc95c8 [at] mail.earthlink.net> Date: Fri, 31 Dec 2004 09:42:13 -0700 From: Theatre Safety Programs Subject: fire in night club in argentina Here are the links to the BBC and AP stories about the fire in Argentina and to quote the Peter Paul & Mary song, when will they ever learn http://news.bbc.co.uk/2/low/americas/4136625.stm and http://www.msnbc.msn.com/id/6771918/ Jerry Gorrell ------------------------------ Message-ID: <45c56d340412311215237f98f2 [at] mail.gmail.com> Date: Fri, 31 Dec 2004 15:15:35 -0500 From: Jared Fortney Reply-To: Jared Fortney Subject: Re: Tirfor/Griphoist question In-Reply-To: References: We didn't have any failures, the head rigger and I were just playing "what if?" as went through our setup. The act called for some pretty hard landings on a few jumps on the wires. We just wanted to know what the worst case scenario was. We eventually got a dyno and tested the setup and found the act to be within a SWL of the setup. -Jared ------------------------------ Message-ID: <41D5B932.3A23D4E5 [at] cybercom.net> Date: Fri, 31 Dec 2004 15:40:18 -0500 From: Dale Farmer Subject: Re: Tirfor/Griphoist question References: Cosmo.A.Catalano [at] williams.edu wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Jared-- > I've used a griphoist several time doing trail work (lifting and dragging large > rocks). I've never seen one of these fail, the shear pin goes well before the > breaking point of the 1/2" wire rope we use. > >From other wire rope failures I've seen the aftermath of, my guess would be that > if the jaws and rope are clean, the rope will break at the point where it > enters the load side of the jaws, with a dirty mechanism, I'd bet failure > starts with some slippage. > > These things are remarkably strong, what--if any--failure did you experience? > > Cosmo Barring a casting failure, which should be detected by the manufacturer's QA, I would not expect the things to go except at the designed fail point. I could see some uninformed operator replacing the pin with a stronger pin. Then a slippage or a wire rope failure from the teeth biting into the cable. Much more likely would be wire rope failure from ongoing use and the wire rope not being inspected and replaced regularly. I've used several such things, mostly in construction and when I was in the navy, not theater. All the failures I ever saw ( except for one) were undetected wear failures. The other one was a mooring line that was over stressed when a carrier was being moored. A hundred or so feet of 14 inch nylon mooring line stretched the the breaking point has a *LOT* of energy stored up in it. Tore a hole through the hull when it hit. --Dale ------------------------------ From: Subject: RE: Interlectual [sic] property rights Date: Fri, 31 Dec 2004 15:41:21 -0500 Message-Id: <20041231204121.RILT8778.fed1rmmtao03.cox.net [at] smtp.west.cox.net> >I was simultaneously amused and appalled to read in the program notes >for "Miss Saigon" a long description of the creators' sources of >inspiration...with no mention whatsoever of Puccini. Ditto with the 'Aida' I'm out with. I went into this thinking I pretty much knew the story, as ole Augie Marriette told it, but I was pretty shocked with what's been done with it. It's not bad, per se, but Senor Marriette wouldn't be pleased. Amneris is a valley girl who feels sorry for everyone at the end. For some reason 'Tiny Dancer' keeps getting stuck in my head, too. I'm not sure that half of the people on the show know that Verdi did the show back in the day... Chris Babbie OTR Location Sound ------------------------------ From: IAEG [at] aol.com Message-ID: <1d9.333a76c2.2f07175c [at] aol.com> Date: Fri, 31 Dec 2004 15:58:04 EST Subject: Re: Tirfor/Griphoist question / Moscow Circus In a message dated 12/31/04 3:16:29 PM, jared.fortney [at] gmail.com writes: >We didn't have any failures, the head rigger and I were just playing >"what if?" as went through our setup. The act called for some pretty >hard landings on a few jumps on the wires. We just wanted to know >what the worst case scenario was. We eventually got a dyno and tested >the setup and found the act to be within a SWL of the setup. > >-Jared When i spent some time with Moscow Circus years ago ( before all the "generic" versions ) the high wire act had a wonderful old hand crank winch supposedly "liberated" from the Red Army, that had a dyno built into it. There was never any guess work for the wire act as to the tension they needed, they simply "dialed" it up. In fact there was a point in their performance where they needed a change in tension and a technician simply cranked the handle up or down to the pre set level with no guess work. There were lots of other interesting pieces of military hard ware, including some primitive "moving lights" that were under the floor beneath the catch net of the famous CRANES flying act. These lights just simply panned back and forth. Turns out there will landing light assemblies from a MIG. The movement was simply the process of what would rotate / lower the lights down out of the wing. very best, Keith Arsenault IAEG - International Arts & Entertainment Group Tampa, Florida ------------------------------ Date: Fri, 31 Dec 2004 15:00:31 -0600 From: FREDERICK W FISHER Subject: Re: Intellectual property rights Message-id: <7ffd787fb037.7fb0377ffd78 [at] wiscmail.wisc.edu> From: "ladesigners [at] juno.com" > Intellectual Property Rights Law INCLUDES Copyright, Trademark, and > Patent Rights law on the federal level, as well Unfair Competition > Law on the State level. Also, there are 'Moral Rights' (a French > concept whereas the new owner does NOT enjoy the right to modify > the art, even if they have the right to copy it) My wife used to work in publishing and told me, at the time, that titles could not be protected. I don't know if that has changed. What about generic light plots, say something for dance consisting of washes and pipe ends? It would seem to me that a hang that basic shouldn't be protectable, otherwise, every plot would have to be unique. What about hanging a piece of scenery? The idea of hanging a piece isn't protected but has anyone tried to protect the basic method? Fred Fisher ------------------------------ From: Subject: Loud Lights Date: Fri, 31 Dec 2004 16:07:18 -0500 Message-Id: <20041231210718.RRAF8778.fed1rmmtao03.cox.net [at] smtp.west.cox.net> Hey, I just designed a revolutionary new speaker that will send whatever sound I like with whatever EQ and delay characteristics I need to wherever I want, with the ability to change them from the console at a moments notice. I can also pre-program these changes! The only downside is that they'll cast a fairly noticeable green glow on the stage and just outside the pro. Occasionally, as they move, the strobes go off. It's not that noticable, as you'll only see the bounce off the strobe, as they're on the back of the boxes. You squints are freaking right now aren't you? Can you imagine a lighting designer trying to design lights around these speakers? That's pretty much what is going on with moving lights in the sound world nowadays. I know, I know, some of you guys work for companies that make absolutely wonderfully quiet moving lights. Once you take the fans off of them they won't even be that bad, but I'm talking about the 1K scream that I have in every mic on the deck. Those of you that work for the offending companies, take note. Those of you that buy from the offending companies as well. Those of you that work for companies that make nice, quiet lights, go smack your marketing dept in the nose, and get them to work. Those of you that bitch about how loud the sound dept is getting nowadays, we're just getting the show above the sound of the lighting, and we'll get quieter when the lights stop dictating the noise floor on stage. OK, I'll probably be alright now... Chris Babbie OTR Location Sound ------------------------------ Message-ID: <003201c4ef7c$cd3c97e0$0501a8c0 [at] Kozmain1> Reply-To: "Carson Koz Noel at LSFX Co." From: "Carson Koz Noel at LSFX Co." References: Subject: A Quick Note... Date: Fri, 31 Dec 2004 14:07:56 -0700 Organization: LSFX Co. Just wanted to drop a quick line to wish everyone a very Happy and Prosperous New Year!!! Carson "Koz" Noel, III Light and Sound FX Co. / LSFX 5832 E. Camden Street Tucson, AZ 85712 Koz [at] LSFXCo.com Phone - 520.419.4529 Fax - 520.296.9751 *** This communication is intended solely for the person or entity to which it is addressed and may contain privileged and/or other confidential information. If you are not the intended recipient, or believe that you have received this communication in error, please send reply to above email address or phone.*** ------------------------------ From: IAEG [at] aol.com Message-ID: <7a.69cd9f55.2f0719f7 [at] aol.com> Date: Fri, 31 Dec 2004 16:09:11 EST Subject: Re: Intellectual property rights In a message dated 12/31/04 4:01:21 PM, fwfisher [at] facstaff.wisc.edu writes: > The idea of hanging a piece isn't protected >but has anyone tried to protect the basic method? given the attitude of the patent and copyright offices today, , if the concept of a counter weight system didn't exist, and you wanted to patent it and say that any one that used counterweights to balance the system was in violation of your patent, , I think that they might actualy patent it, , However since it's a long standing existing thing, I doubt it. given the growth in all the intellectual property fields, and the fact that the US is still the number one exporter of such things ( which is not reflected by the way in the Foriegn Trade Deficit ) I think the government has been slowly becoming more and more accceptive of protecting the sort of general "ideas and concepts" that would have been shot down in the past. don't forget that the initial growth of the US Auto Industry was based on the companies basically letting each other use their "patented" products and concepts gratis, it wasn't until recent years that the auto makers became protective of such things. very best, Keith Arsenault IAEG - International Arts & Entertainment Group Tampa, Florida ------------------------------ From: IAEG [at] aol.com Message-ID: <1de.31ad76d0.2f071a79 [at] aol.com> Date: Fri, 31 Dec 2004 16:11:21 EST Subject: Re: Loud Lights In a message dated 12/31/04 4:08:06 PM, psyd [at] cox.net writes: >OK, I'll probably be alright now... > > > >Chris Babbie > >OTR > >Location Sound Chris , , you didn't take your meds today? Perhaps in anticipation of the consumption that might occur this evening and that alcohol and medication are contra indicated? very best, Keith Arsenault IAEG - International Arts & Entertainment Group Tampa, Florida ------------------------------ From: "ladesigners [at] juno.com" Date: Fri, 31 Dec 2004 21:11:59 GMT Subject: Re: Interlectual [sic] property rights Message-Id: <20041231.131250.28913.131622 [at] webmail01.lax.untd.com> Dear Chris, At least you don't have to mic the elephant footsteps during the Grand March to have them audible over a loud orchestra. YES, it is possible to walk the elephants at the right pace across the stage so that the footsteps are synchronized with the music. I have seen as many as 12 elephants proceed across a structurally sound stage in lockstep. The applause was deafening. Too bad the singing didn't earn this applause. /s/ Richard I'm not sure that half of the people on the show know that Verdi did the show back in the day... Chris Babbie OTR Location Sound ________________________________________________________________ Juno Gift Certificates Give the gift of Internet access this holiday season. http://www.juno.com/give ------------------------------ Date: Fri, 31 Dec 2004 15:17:03 -0600 From: FREDERICK W FISHER Subject: Re: Loud Lights Message-id: <9255b1922388.9223889255b1 [at] wiscmail.wisc.edu> ----- Original Message ----- From: psyd [at] cox.net > That's pretty much what is going on with moving lights in the sound > world nowadays. I know, I know, some of you guys work for > companies that make absolutely wonderfully quiet moving lights. > Once you take the fans off of them they won't even be that bad, but > I'm talking about the 1K scream that I have in every mic on the > deck. > Those of you that work for the offending companies, take note. > Those of you that buy from the offending companies as well. Those > of you that work for companies that make nice, quiet lights, go > smack your marketing dept in the nose, and get them to work. > Chris Babbie Perhaps you could share with us the brands of fixtures you have had problems with and the ones you haven't to help the rest of us be prepared for possible problems and and have some possible solutions to draw on. Fred Fisher ------------------------------ From: IAEG [at] aol.com Message-ID: <9a.1cf6fd2c.2f071d8d [at] aol.com> Date: Fri, 31 Dec 2004 16:24:29 EST Subject: Re: Interlectual [sic] property rights In a message dated 12/31/04 4:13:58 PM, ladesigners [at] juno.com writes: >Dear Chris, >At least you don't have to mic the elephant footsteps during the Grand >March to have them audible over a loud orchestra. YES, it is possible to >walk the elephants at the right pace across the stage so that the footsteps >are synchronized with the music. I have seen as many as 12 elephants proceed >across a structurally sound stage in lockstep. The applause was deafening. >Too bad the singing didn't earn this applause. >/s/ Richard did anyone on the list work on the infamous "arena Aida" that originated out of Hartford years ago ? very best, Keith Arsenault IAEG - International Arts & Entertainment Group Tampa, Florida ------------------------------ Date: Fri, 31 Dec 2004 15:25:33 -0600 From: FREDERICK W FISHER Subject: Re: Intellectual property rights Message-id: <8006d47fd5c6.7fd5c68006d4 [at] wiscmail.wisc.edu> > The boss took it in some kind of stride and said "Ideas are cheap". > That I didn't and still don't believe. while in general in may be > true, actual good ideas quite valuable. > Paul I take that axiom to mean that lots of people can come with ideas, few have the werewithall to put them into action. Fred Fisher ------------------------------ From: "ladesigners [at] juno.com" Date: Fri, 31 Dec 2004 21:25:39 GMT Subject: Re: Intellectual property rights Message-Id: <20041231.132612.28913.131759 [at] webmail01.lax.untd.com> Dear Fred, Titles are not protectable by Copyright (Federal)law. You could call a play about dueling actors "Star Wars", but the use of a title for a space western similar to the work of George Lucas would be effected by Unfair Competition statues on the State level. /s/ Richard My wife used to work in publishing and told me, at the time, that titles could not be protected. I don't know if that has changed. Fred Fisher ________________________________________________________________ Juno Gift Certificates Give the gift of Internet access this holiday season. http://www.juno.com/give ------------------------------ From: "Dr. Randall W.A. Davidson" Subject: RE: Interlectual [sic] property rights Date: Fri, 31 Dec 2004 13:31:03 -0800 Message-ID: <00d501c4ef80$0833ee90$8d90fea9 [at] DrDoomsComputer> In-reply-to: This is called Pack a derm. Lots of skin in one place on a stage. Wowee. Doom Joyous and Grace filled New Year to you all and your families. -- Dr. Randall W.A. Davidson, Risk International & Associates, Inc. - www.riskit.com Latest workshops for Educational and Entertainment Industry Performing Arts Personnel (Riggers, and Public Assembly and Educational Technicians) www.riskit.com/workshops International Secondary Education Theater Safety Association (ISETSA) - www.isetsa.org -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of IAEG [at] aol.com Sent: Friday, December 31, 2004 1:24 PM To: Stagecraft Subject: Re: Interlectual [sic] property rights For info, archives & UNSUBSCRIBE, see --------------------------------------------------- In a message dated 12/31/04 4:13:58 PM, ladesigners [at] juno.com writes: >Dear Chris, >At least you don't have to mic the elephant footsteps during the Grand >March to have them audible over a loud orchestra. YES, it is possible to >walk the elephants at the right pace across the stage so that the footsteps >are synchronized with the music. I have seen as many as 12 elephants proceed >across a structurally sound stage in lockstep. The applause was deafening. >Too bad the singing didn't earn this applause. >/s/ Richard did anyone on the list work on the infamous "arena Aida" that originated out of Hartford years ago ? very best, Keith Arsenault IAEG - International Arts & Entertainment Group Tampa, Florida ------------------------------ Date: Fri, 31 Dec 2004 16:38:12 -0500 Subject: Re: Loud Lights From: Herrick Goldman Message-ID: In-Reply-To: That's ok Chris we're still the ones tying you in. I can work with green and strobes so you go ahead and have fun. I'm a collaborator you see, so I'll just design my noisy-assed rig with your additions in mind. :) Happy New Year. -Herrick On 12/31/04 16:07, "psyd [at] cox.net" wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Hey, I just designed a revolutionary new speaker that will send whatever sound > I like with whatever EQ and delay characteristics I need to wherever I want, > with the ability to change them from the console at a moments notice. I can > also pre-program these changes! The only downside is that they'll cast a > fairly noticeable green glow on the stage and just outside the pro. > Occasionally, as they move, the strobes go off. It's not that noticable, as > you'll only see the bounce off the strobe, as they're on the back of the > boxes. > You squints are freaking right now aren't you? Can you imagine a lighting > designer trying to design lights around these speakers? > That's pretty much what is going on with moving lights in the sound world > nowadays. I know, I know, some of you guys work for companies that make > absolutely wonderfully quiet moving lights. Once you take the fans off of > them they won't even be that bad, but I'm talking about the 1K scream that I > have in every mic on the deck. > Those of you that work for the offending companies, take note. Those of you > that buy from the offending companies as well. Those of you that work for > companies that make nice, quiet lights, go smack your marketing dept in the > nose, and get them to work. Those of you that bitch about how loud the sound > dept is getting nowadays, we're just getting the show above the sound of the > lighting, and we'll get quieter when the lights stop dictating the noise floor > on stage. > OK, I'll probably be alright now... > > Chris Babbie > OTR > Location Sound > > -- Herrick Goldman Lighting Designer, NYC www.HGLightingDesign.com "To the scores of silent alchemists who wreak their joy in darkness and in light bringing magic to life, we bow most humbly. "-CDS ------------------------------ From: "Dr. Randall W.A. Davidson" Subject: RE: fire in night club in argentina Date: Fri, 31 Dec 2004 13:45:04 -0800 Message-ID: <010501c4ef81$fd74dad0$8d90fea9 [at] DrDoomsComputer> In-reply-to: Of the over 350 Nightclubs and discos I have investigated in my short career, the same problems continue to exist, no matter what country. After the station fire I visited over sixty restaurants, clubs and hotel clubs in this country, and I observed the self same problems that were in the Station fire. Management and patrons, a mix that does not seem to have care for life, over profit. Doom -- Dr. Randall W.A. Davidson, Risk International & Associates, Inc. - www.riskit.com Latest workshops for Educational and Entertainment Industry Performing Arts Personnel (Riggers, and Public Assembly and Educational Technicians) www.riskit.com/workshops International Secondary Education Theater Safety Association (ISETSA) - www.isetsa.org -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Theatre Safety Programs Sent: Friday, December 31, 2004 8:42 AM To: Stagecraft Subject: fire in night club in argentina For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Here are the links to the BBC and AP stories about the fire in Argentina and to quote the Peter Paul & Mary song, when will they ever learn http://news.bbc.co.uk/2/low/americas/4136625.stm and http://www.msnbc.msn.com/id/6771918/ Jerry Gorrell ------------------------------ Message-ID: From: "Jason" References: Subject: Re: Loud Lights Date: Fri, 31 Dec 2004 17:22:39 -0800 Chris, You behind time I design those years ago but found speakers are cheap and you would have to have the lighting guy move them from his console. Have to add many mundane lights since the sound level of moving lights would be to great to the preformance. but but easily done. ----- Original Message ----- From: > --------------------------------------------------- > > Hey, I just designed a revolutionary new speaker that will send whatever > sound I like with whatever EQ and delay characteristics I need to wherever > I want, with the ability to change them from the console at a moments > notice. I can also pre-program these changes! The only downside is that > they'll cast a fairly noticeable green glow on the stage and just outside > the pro. Occasionally, as they move, the strobes go off. It's not that > noticable, as you'll only see the bounce off the strobe, as they're on the > back of the boxes. > You squints are freaking right now aren't you? Can you imagine a lighting > designer trying to design lights around these speakers? > That's pretty much what is going on with moving lights in the sound world > nowadays. I know, I know, some of you guys work for companies that make > absolutely wonderfully quiet moving lights. Once you take the fans off of > them they won't even be that bad, but I'm talking about the 1K scream that > I have in every mic on the deck. > Those of you that work for the offending companies, take note. Those of > you that buy from the offending companies as well. Those of you that work > for companies that make nice, quiet lights, go smack your marketing dept > in the nose, and get them to work. Those of you that bitch about how loud > the sound dept is getting nowadays, we're just getting the show above the > sound of the lighting, and we'll get quieter when the lights stop > dictating the noise floor on stage. > OK, I'll probably be alright now... > > Chris Babbie > OTR > Location Sound > > ------------------------------ Message-ID: In-Reply-To: From: "RICHARD FINKELSTEIN" Subject: more copyright stories from Richard Date: Fri, 31 Dec 2004 20:35:47 -0500 First another copyright hint. On the question of "so what can you change...." to my knowledge there is no answer as the limits are set by tradition, and the tradition does change over time. It is also a matter of the license and more and more playwrights are listing specifics in their agreements. It is astonishing to me how often though schools especially sign these contracts without even reading them. On my Artslynx pages under theatre/playwrights/Albee you will find extensive notes on a lecture that he gave a few years back in Denver. He told a number of very funny stories on this theme. One that stands out was when he was at a party and someone came up to him and told him how fun the speech was from one of his characters. Albee pointed out that the character had a non speaking role and the lady replied something like: "We fixed that". After each such story Albee would reveal yet another clause added to the production contract; things like: "characters that do not have lines in the script are not to have spoken lines in the production". He tells about 4 such stories. Indeed, especially in the case of worries over offending people, folks like these days to change various lines. I do have 2 hints here. First, do contact the agent or possibly the writer. I have been fortunate enough to have worked for a number of major playwrights and theatres that work with these folks. It is actually amazing how eager many of these folks are to work with producing companies, even schools. Sometimes they understand the problem and in fact already had written a revision for some other such instance of production. At other times they may be able to point out an unintended consequence. So do consider working with the playwright. In these instances of worry over offending folk though I never cease to be amazed at why the company chooses to produce a show they feel is not appropriate as written given the thousands of other choices available. I remember first learning this lesson at the age of 10 when my Synagogue decided to do The Sound of Music but felt that they couldn't have nuns in the production being a synagogue. I remember my sole job on that production was as the "curtain puller" but it was one of my first memories of empowerment. Even if I had been only 5 years old I would have known that The Sound of Music was about a bunch of nuns, so who did these stupid folk think they were fooling, and why do a show about nuns if you are for whatever stupid reason offended by nuns!?!? What a neat lesson to have learned at 10! my favorite such tale though comes from a manager of a theatre I worked at years ago. He went to a Catholic school (boy religious institutions are not always to bright in these matters no matter the religion!). They decided to do The Fantasticks but the nuns had a problem with "The Rape Ballet". Of course the number is central to the show but the nuns decided that perhaps they could just find a more appropriate synonym. Now those of you who remember the song and can hum it to yourself with the nun's choice word are now in for a very very very funny new year's eve....ready for the choice substitute for "rape"?.... the word was changed to..... "snatch". Of course the high school kids were in absolute hysteria and as for the nuns.....they were so pleased that they were able to "fix" the lyrics and in doing so make the show more family oriented and still allow for the kids to enjoy themselves so much..... (Twilight Zone Theme segue here).. Happy New Year folks! RF ------------------------------ Message-ID: From: "RICHARD FINKELSTEIN" Subject: This Month in Theatre History is back Date: Fri, 31 Dec 2004 21:38:14 -0500 Yes after a 3 month absense, This Month in Theatre History returns to my Artslynx website (Thanks for bugging me, Steve Waxler!). Actually I had years of work tied up with the data in Calendar Creator but discovered finally that this was a terrible way to deal with such things so over the course of 2 years I have been largely re-entering data, this time into a "real" database. For the months I have made the transition it only takes 10 minutes a month to keep updated and I now have all months from January through September (this summer I'll get the missing months in!) So extrapolated from the bigger list, are the designer anniversaries for January and a few other fun ones. Enjoy your heritage! I'll continue to lobby at the Springs USITT for a way to celebrate formally those reaching 100th anniversaries. It is a shame that last year passed without celebration (at least in the US) for such giants of design as Cecil Beaton, Oliver Messel, and Edward Carrick (sone of none other than Gordan Craig)....and this is just from the January list! RF January Anniversaries... 101st Anniversary of the birth of designer, Edward Carrick 72nd Anniversary of the birth of designer, Peter Harvey 101st Anniversary of the birth of designer, Oliver Messel 14th Anniversary of the death of Pato Guzman (Art Director of the Star Treck Pilot) 16th Anniversary of the death of Salvador Dali 20th Anniversary of the death of designer Raoul Pène Du Bois 80th Anniversary of the birth of designer,director, Jack Landau 45th Anniversary of the death of lighting designer,inventor, Bassett Jones 69th Anniversary of the birth of ballet designer, Ian Spurling 208th Anniversary of the birth of singer,actress,manager, Lucia Vestris, said to have introduced the box set to the London stage (1832). 101st Anniversary of the birth of Cecil Beaton 11th Anniversary of the passing of designer Oliver Smith 121st Anniversary of the birth of Georgian set designer, Georgy Yakulov 123rd Anniversary of the birth of Russian set and costume designer, Alexandra Exter 115th Anniversary of the birth of Uruguayan set designer, Rafael Barradas 368th Anniversary of the death of French (ballet) costume designer, Daniel Rabel 159th Anniversary of the death of Paris Opera scenery designer, Louis-Pierre Baltard 80th Anniversary of the birth of lighting designer, Tharon Musser 91st Anniversary of the birth of film costume designer, Dorothy Jeakins 143rd Anniversary of the death of designer, Clarke Robinson 96th Anniversary of the birth of French designer,director, André Barsacq 27th Anniversary of new copyright act (for those following this stagecraft thread) 100th Anniversary of the birth of Maria Augusta von Trapp (For those who love/hate the Sound of Music) 62nd Anniversary of the death of Nikola Tesla 2nd Anniversary of the death of Al Hirschfeld 103rd Anniversary of the birth of costume designer, Marilyn Putnam ------------------------------ Message-ID: <41D61BB6.9080500 [at] peak.org> Date: Fri, 31 Dec 2004 19:40:38 -0800 From: Pat Kight Subject: Re: more copyright stories from Richard References: In-Reply-To: RICHARD FINKELSTEIN wrote: > First another copyright hint. On the question of "so what can you > change...." to my knowledge there is no answer as the limits are set by > tradition, and the tradition does change over time. It is also a matter > of the license and more and more playwrights are listing specifics in > their agreements. It is astonishing to me how often though schools > especially sign these contracts without even reading them. Thanks, Richard -- great cautionary tales! A few years back, Craig Pospisil, director of non-professional rights for Dramatists Play Service, wrote a terrific, to-the-point essay on the subject of changing scripts. I don't see it on the Dramatists' site any more (although the contents have been folded over into their FAQ, which is also very valuable), but I got Craig's permission to post it on our theater's site, for the benefit of our own directors and anyone else who happens to drop by. http://albanycivic.org/copyright.html I recommend it. -- Pat Kight Albany (Ore.) Civic Theater kightp [at] peak.org ------------------------------ Message-ID: <41D621A9.1D60C817 [at] cybercom.net> Date: Fri, 31 Dec 2004 23:06:01 -0500 From: Dale Farmer Subject: Re: fire in night club in argentina References: "Dr. Randall W.A. Davidson" wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Of the over 350 Nightclubs and discos I have investigated in my short > career, the same problems continue to exist, no matter what country. > After the station fire I visited over sixty restaurants, clubs and hotel > clubs in this country, and I observed the self same problems that were > in the Station fire. Management and patrons, a mix that does not seem to > have care for life, over profit. Doom Yup. I do a lot of gigs in hotels for conventions. The back of house hallways that we have to move all our stuff through to get from the loading dock to the function room are inevitably chock full of all sorts of random stuff. Tables, stacks of chairs, carts full of dirty dishes, piles of ice cubes and puddles around them, everything. These hallways are, almost always, fire escape routes. I make an effort to clear the pathways, and if I'm in some sort of leadership position on the gig, get the hotel to clear the back hallways. This is, unfortunately, viewed as being a pain in the butt by higher management, if not being told things like 'Stop f**ing off in the back hallway.' by them. I've nearly walked off of jobs because the hotel had fire doors chained shut and similar stupidity. Many of these times, I had to explain that on my way out the door I'd be calling the fire marshall to come and inspect the premises, who would likely levy a large fine in addition to closing the event. Safety is given lip service by all, but when it comes down to actually costing real money, it falls by the wayside more often than not. --Dale ------------------------------ End of Stagecraft Digest #245 *****************************