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 11972786; Sun, 02 Jan 2005 03:01:02 -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 #246 Date: Sun, 02 Jan 2005 03:00:50 -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 #246 1. Re: Interlectual [sic] property rights by Charlie Richmond 2. Vinny Paragone by "Delbert Hall" 3. Re: Intellectual property rights by "Paul Guncheon" 4. Re: Intellectual property rights by "Jeffrey E. Salzberg" 5. Re: Ideas by "Paul Guncheon" 6. Re: Ideas by "Delbert Hall" 7. Re: Intellectual property rights by "Jon Ares" 8. Re: Loud Lights by CB 9. Re: Interlectual [sic] property rights by CB 10. Re: Loud Lights by CB 11. Re: more copyright stories from Richard by CB 12. Re: fire in night club in argentina by CB 13. Re: Interlectual [sic] property rights by IAEG [at] aol.com 14. Re: Intellectual property rights / SOUND OF MUSIC by IAEG [at] aol.com 15. Re: Intellectual property rights by Pat Kight 16. Albee / Beckett changes in productions, , , by IAEG [at] aol.com 17. Re: Interlectual [sic] property rights by John McKernon 18. Re: Interlectual [sic] property rights by IAEG [at] aol.com 19. Re: Interlectual [sic] property rights by John McKernon 20. Re: Loud Lights by Herrick Goldman 21. Similarities to Station fire dismay officials in R.I. by Theatre Safety Programs 22. Re: Similarities to Station fire dismay officials in R.I. by Jerry Durand 23. Re: Similarities to Station fire dismay officials in R.I. by James Feinberg 24. Re: Similarities to Station fire dismay officials in R.I. by "Jon Ares" 25. More intel. prop. stuff by "RICHARD FINKELSTEIN" 26. Lighting history mysteries by "RICHARD FINKELSTEIN" 27. Re: More intel. prop. stuff by "ladesigners [at] juno.com" 28. Re: More intel. prop. stuff by "Jon Ares" 29. Re: Similarities to Station fire dismay officials in R.I. by "Dr. Randall W.A. Davidson" 30. Re: Similarities to Station fire dismay officials in R.I. by "Dr. Randall W.A. Davidson" 31. Re: Lighting history mysteries by "Jeffrey E. Salzberg" 32. Re: Lighting history mysteries by "Jeffrey E. Salzberg" *** 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. ---------------------------------------------------------------------- Date: Sat, 1 Jan 2005 12:29:59 +0000 (GMT) From: Charlie Richmond Subject: Re: Interlectual [sic] property rights In-Reply-To: Message-ID: References: On Fri, 31 Dec 2004, ladesigners [at] juno.com wrote: > At least you don't have to mic the elephant footsteps during the Grand March Don't mic them, just prerecord them and have the elephants sync to them, like they did in Riverdance... Charlie ------------------------------ Message-ID: In-Reply-To: From: "Delbert Hall" Subject: Vinny Paragone Date: Sat, 01 Jan 2005 08:13:29 -0500 Sorry to take up bandwidth on the list, but would Vinny Paragone, please phone me at 423-773-4255. There seems to be a problem with my emails to you. -Delbert Delbert L. Hall 423-773-HALL (4255) ------------------------------ Message-ID: <038c01c4f00f$b9858ed0$0202a8c0 [at] MyLastPC> From: "Paul Guncheon" References: Subject: Re: Intellectual property rights Date: Sat, 1 Jan 2005 04:39:38 -1000 <> Legal or not, I have often, if not usually, ignored stage directions in a script. where they pertain to the set. I often have the feeling that they were added to the script after the initial perfomance of the work. Some shows seem to be doomed by their original designs or parts of them... What do birch trees have to do with "A Little Night Music". The stairs in "Will Rogers Follies". The last song in "Little Shop". That's just a few that immediately spring to mind, any others? Laters and Ha'ouli Makahiki Hou, Paul "Is Crosby your favorite singer?" asked Tom probingly. ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Intellectual property rights Date: Sat, 1 Jan 2005 09:57:02 -0500 Message-ID: <000e01c4f012$29e83d60$6701a8c0 [at] Dell> In-Reply-To: > Legal or not, I have often, if not usually, ignored stage > directions in a > script. where they pertain to the set. I often have the > feeling that they > were added to the script after the initial perfomance of the work. Exactly. Almost always, the stage directions are partial descriptions of the work of the original director and designers, and not written by the playwright. Sometimes, the playwright *does* contribute the stage directions -- my favorite is from Charles Fuller's "A Soldier's Play", in which he refers to "the blue-gray light of the past." In another example, the set and props for "Deathtrap" are largely dictated by the dialogue. There are, of course, cases in which the original stage directions become so much a part of the culture of the play that something seems lacking if they're ignored; the actors coming out of the trunk in "Fantasticks" and the staircase in "Man of La Mancha" come to mind. ------------------------------ Message-ID: <039001c4f012$6be95d70$0202a8c0 [at] MyLastPC> From: "Paul Guncheon" References: Subject: Re: Ideas Date: Sat, 1 Jan 2005 04:58:57 -1000 >> The boss took it in some kind of stride and said "Ideas are cheap". > That I didn't and still don't believe. While in general it may be > true, actual good ideas are quite valuable. > Paul I take that axiom to mean that lots of people can come with ideas, few have the wherewithal to put them into action. Fred Fisher<< Actually the thought is more along the line of an idea truly being a good one. Ingenious I guess, or something like that. It has been my experience that most of the people in our business are "do-ers", so they are going to "do" something. It's the "what" part of what they are going to do that I'm talking about. I think... Laters, Paul "How long will I have to wait for a table?" Tom asked without reservation. ------------------------------ Message-ID: In-Reply-To: From: "Delbert Hall" Subject: Re: Ideas Date: Sat, 01 Jan 2005 10:33:04 -0500 > >> The boss took it in some kind of stride and said "Ideas are cheap". > > That I didn't and still don't believe. While in general it may be > > true, actual good ideas are quite valuable. > > Paul I agree with you, good idea are valuable, but good ideas that are successfully excuted are "priceless." "When all is said and done, there is a lot more said than done." -Delbert Delbert L. Hall 423-773-HALL (4255) ------------------------------ Message-ID: <000901c4f024$d9d09170$0600000a [at] BRUTUS> From: "Jon Ares" References:

Subject: Re: Intellectual property rights Date: Sat, 1 Jan 2005 09:10:53 -0800 > > What do birch trees have to do with "A Little Night Music". > > The stairs in "Will Rogers Follies". > Flo Zigfeld loved stairs, and used them all the time... showed off the beauties' legs. That's why the original production used them, since it's supposed to be a Zigfeld show. (Not saying it HAS to be a Zigfeld production, just saying why it was.) :) -- Jon Ares Program Director, West Linn HS Theatre Arts www.hevanet.com/acreative www.wlhstheatre.org ------------------------------ Message-Id: <3.0.6.32.20050101110407.00c6c7e8 [at] pop.west.cox.net> Date: Sat, 01 Jan 2005 11:04:07 From: CB Subject: Re: Loud Lights >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? I don't think that anyone has ever suggeted that I DON't mix meds.... anyhoo, no, I think its the constant 1K off the cybers for ten hours straight on the deck that finally got to me. And the sound crew are the only ones that think it might be a problem. It isn't just a bit of tone that only skweeks, dogs, and bats can hear, either. SMAART shows it so even a carp can tell something is wrong, and its 6 dB over the sound of the fans. two days off and a great bottle of rum in my hotel room seems to be helping, but I may begin to rant again after tomorrow. Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Message-Id: <3.0.6.32.20050101110641.00c6c7e8 [at] pop.west.cox.net> Date: Sat, 01 Jan 2005 11:06:41 From: CB Subject: Re: Interlectual [sic] property rights >At least you don't have to mic the elephant footsteps during the Grand March Thank you for that perspective. I think I can make it through each day chanting my new mantra, "We don't have elephants, we don't have elephants"! Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Message-Id: <3.0.6.32.20050101110957.00c6c7e8 [at] pop.west.cox.net> Date: Sat, 01 Jan 2005 11:09:57 From: CB Subject: Re: Loud Lights >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. :) Now, only Herrick would run in to this kind of set-up with out bitchin' about the skweeks pouring crap all over his design, knuckle down and make it work. I cannot wait to meet you professionally, Herrick. BTW, I'll be in Dallas again at the end of the month. Meet you at the Malibu Raceway again? Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Message-Id: <3.0.6.32.20050101111624.00c6c7e8 [at] pop.west.cox.net> Date: Sat, 01 Jan 2005 11:16:24 From: CB Subject: Re: more copyright stories from Richard >I recommend it. It's great! I'm going to substitute mic stuff that the actors keep asking me and post this next to my roadbox. I'm sending copies to all my friends! Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Message-Id: <3.0.6.32.20050101111948.00c6c7e8 [at] pop.west.cox.net> Date: Sat, 01 Jan 2005 11:19:48 From: CB Subject: Re: fire in night club in argentina >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 was once told that it "wasn't my problem". To which I replied that it was our problem, and we could use her solution or mine, but she was going to like hers so much better. Usually after the truck dumps there is so much more room off the end of the dock that the halways can be cleared in short order! ; > Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ From: IAEG [at] aol.com Message-ID: <140.3aef783b.2f08470b [at] aol.com> Date: Sat, 1 Jan 2005 13:33:47 EST Subject: Re: Interlectual [sic] property rights In a message dated 1/1/05 7:31:34 AM, charlier [at] RichmondSoundDesign.com writes: >> At least you don't have to mic the elephant footsteps during the Grand >March > >Don't mic them, just prerecord them and have the elephants sync to them, >like >they did in Riverdance... > >Charlie the elephants would probably do a better job than the last cast I saw of RIVERDANCE, , , I like Savion Glover's solution, he has a separate wireless lav mic on each shoe, , , they must take a beating, very best, Keith Arsenault ------------------------------ From: IAEG [at] aol.com Message-ID: <9e.1cfae4b9.2f08482e [at] aol.com> Date: Sat, 1 Jan 2005 13:38:38 EST Subject: Re: Intellectual property rights / SOUND OF MUSIC here's one for ya, , speaking of THE SOUND OF MUSIC, I once saw a large "community theatre" production of THE SOUND OF MUSIC, , the production was "ok" I've seen worse, I've seen better at this level, , but the director of the show who was also the director of the company obviously was a bit of a "guru" to these people, he came out at the curtain call and gave a 10 minute speech about the message of the show, which after 3 minutes I found I was gagging a bit on the sentiment, But the capper of all this, when he finished he invited the audience to stand, and sing along with the cast. I was thinking "ok, a refrain of CLIMB EVERY MOUNTAIN" was going to fit nicely with his speecifiing. nooooooo it was LET THERE BE PEACE ON EARTH AND LET IT BEGIN WITH ME, gasp ! I wonder what the Rogers and Hammerstein Foundation would have thought about this post curtain call addition, , very best, Keith Arsenault ------------------------------ Message-ID: <41D6EFF1.5070900 [at] peak.org> Date: Sat, 01 Jan 2005 10:46:09 -0800 From: Pat Kight Subject: Re: Intellectual property rights References: In-Reply-To: Jeffrey E. Salzberg wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > > >>Legal or not, I have often, if not usually, ignored stage >>directions in a >>script. where they pertain to the set. I often have the >>feeling that they >>were added to the script after the initial perfomance of the work. > > > Exactly. Almost always, the stage directions are partial descriptions > of the work of the original director and designers, and not written by > the playwright. Weeeeeell ... maybe. This is one of those theater truisms that's actually changed over the past couple of decades. From the Dramatists Play Service Web site's FAQ (http://www.dramatists.com/faqsmanager/applications/faqsmanager/): " Are the stage directions in your scripts taken from the stage manager's prompt book? "In the old days, this was frequently the case. If you look at some of our older titles, published, say, twenty or more years ago, you'll notice stage directions that include stage-place abbreviations, e.g., DL, UR, CS, etc. This is a sign that the stage directions may have come from the prompt book, because indeed it was the prompt book that was often submitted to the Play Service for publication. Abbreviations, though, are not absolute proof as sometimes authors use those abbreviations themselves. Now, however, all stage directions in the published text come from the author and reflect their vision of the play." They also say, however: "...It is the expectation in this matter that the intention of the author will be followed. Whether it is possible or even desirable to follow those directions to the letter is where there's a gray area; but, in brief, if the author or their heirs are unhappy with a production, they can pull the plug at any time, and they occasionally do. Art is an inexact science." The bottom line: If you're planning to do something that deviates in a major way from the playwright's intentions, ask permission. -- Pat Kight Albany (Ore.) Civic Theater kightp [at] peak.org ------------------------------ From: IAEG [at] aol.com Message-ID: Date: Sat, 1 Jan 2005 13:48:53 EST Subject: Albee / Beckett changes in productions, , , In a message dated 12/31/04 8:36:48 PM, rfinkels [at] msn.com writes: >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 there are stories of productions of WHOSE AFRAID OF VIRGINIA WOLF, , where it's two gay couples that I believe Albee shot down, , , (according to some that's the subtext of the play) There is a relatively famous production of Becketts ENDGAME at A R T in Cambridge that was set in a post apocalyptic subway station that Beckett VEHEMENTLY opposed, , they finally compromised and did the production that way but allow Beckett to insert a letter to the audience in the program outlining that this was not his intent what so ever. Some one on the list might have more info on this (and perhaps more accurate) we won't even begin to discuss Sondheim's MERRILY WE ROLL ALONG, which carries with it a disclaimer that bacically says " don't even THINK about changing the order of this production" very best, Keith Arsenault ------------------------------ Date: Sat, 01 Jan 2005 13:50:38 -0500 Subject: Re: Interlectual [sic] property rights From: John McKernon Message-ID: In-Reply-To: > the elephants would probably do a better job than the last cast I saw of > RIVERDANCE, , , > > I like Savion Glover's solution, he has a separate wireless lav mic on each > shoe, , , they must take a beating, Actually, Riverdance has mics in the insteps of the principal dancers' shoes as well as floor mics. And yes, they do take a lot of abuse. For the large group dance numbers, the dancers all have to dance in synchronization with the pre-record. What the audience hears is a mix of the pre-record and their live taps (so it sounds like you have a hundred people tapping instead of just 30-40). For solo numbers, the audience hears the actual taps. - John McKernon ------------------------------ From: IAEG [at] aol.com Message-ID: <8d.1d6b2b52.2f084c1f [at] aol.com> Date: Sat, 1 Jan 2005 13:55:27 EST Subject: Re: Interlectual [sic] property rights In a message dated 1/1/05 1:52:13 PM, stagecraft2004 [at] mckernon.com writes: >For solo numbers, the audience hears the actual taps. > i would have to beg to differ on that, , I saw a performance of RIVERDANCE in Chattanooga TN about three years ago where the solos and the taps bore little or no relationship to each other at times, and I wasn't sitting far enough away that any delay between the visual and the auditory would have made a difference, very best, Keith Arsenault President IAEG - International Arts & Entertainment Group Tampa, Florida 813 831 3465 Mr. Arsenault's Office 813 205 0893 Mr. Arsenault's Cellular www.iaeginc.com ------------------------------ Date: Sat, 01 Jan 2005 14:02:13 -0500 Subject: Re: Interlectual [sic] property rights From: John McKernon Message-ID: In-Reply-To: > i would have to beg to differ on that, , I saw a performance of RIVERDANCE in > Chattanooga TN about three years ago where the solos and the taps bore little > or no relationship to each other at times, and I wasn't sitting far enough > away that any delay between the visual and the auditory would have made a > difference, I can only tell you what I know from the times I've served as the lighting supervisor for Riverdance. Since I wasn't in Chattanooga for the performance you saw, I couldn't begin to explain. Maybe the soloist's mics were down, or someone was injured but went on anyway, or the cast was being lazy and the sound guy shut off their shoe mics. I dunno... - John McKernon ------------------------------ Date: Sat, 01 Jan 2005 14:46:17 -0500 Subject: Re: Loud Lights From: Herrick Goldman Message-ID: In-Reply-To: Oh we'll work together sometime I'm certain of it. As for the race you're on sucka! Anyone need an LD in Dallas the end of the month? On 1/1/05 11:09, "CB" wrote: I cannot wait to meet you professionally, Herrick. BTW, I'll be > in Dallas again at the end of the month. Meet you at the Malibu Raceway > again? > Chris "Chris" Babbie > Location Sound > MON AZ > > Delete key training and post trimming done by appointment. Rates > negotiable, will trade for typing lessons/ADD treatment... > -- 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 ------------------------------ Message-Id: <6.2.0.14.2.20050101132440.01fc4cd0 [at] mail.earthlink.net> Date: Sat, 01 Jan 2005 13:24:53 -0700 From: Theatre Safety Programs Subject: Similarities to Station fire dismay officials in R.I. http://www.projo.com/news/content/projo_20050101_fire01x.1441be.html check out this article in the providence journal -- deja vu all over again jerry gorrell ------------------------------ Message-Id: <6.2.0.14.0.20050101124000.0388bff8 [at] localhost> Date: Sat, 01 Jan 2005 12:40:56 -0800 From: Jerry Durand Subject: Re: Similarities to Station fire dismay officials in R.I. In-Reply-To: References: At 12:24 PM 1/1/2005, Theatre Safety Programs wrote: >http://www.projo.com/news/content/projo_20050101_fire01x.1441be.html > >check out this article in the providence journal -- deja vu all over again I get: "For full access to our award-winning news coverage and interactive subscription services, please complete this simple one-time form below." Maybe you could summarize? ---------- Jerry Durand Durand Interstellar, Inc. 219 Oak Wood Way Los Gatos, California 95032-2523 USA tel: +1 408 356-3886 fax: +1 408 356-4659 web: www.interstellar.com ------------------------------ In-Reply-To: References:

Message-Id: <17797292-5C45-11D9-9884-00039396D590 [at] sandiego.edu> From: James Feinberg Subject: Re: Similarities to Station fire dismay officials in R.I. Date: Sat, 1 Jan 2005 14:33:00 -0800 Jerry, Check out www.bugmenot.com Here are the first few paragraphs (hopefully this falls under fair use...) --James Feinberg University of San Diego -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= Similarities to Station fire dismay officials in R.I. 01:00 AM EST on Saturday, January 1, 2005 BY JENNIFER LEVITZ and TOM MOONEY Journal Staff Writers The Buenos Aires disco fire that killed and injured hundreds of concertgoers Thursday night is being called the deadliest tragedy in rock 'n' roll history. There's another description making the rounds: hauntingly familiar. The accounts from Argentina could have been lifted from reports of the Rhode Island nightclub fire, in February 2003, that killed 100 people and injured more than 200: the foam, the thick black clouds of suffocating smoke, the scrambling for the exits, one of which was apparently blocked. "When I first heard about it, I thought, when will this end?" said Paul Wertheimer, an international crowd-safety expert from Los Angeles who testified at the Rhode Island State House after the Station nightclub fire in West Warwick. Wertheimer said it appears that similar fundamental missteps played out in both fires, down to the outdated concert halls. He said the Buenos Aires disco was a former bowling alley that was exempt from modern fire codes. > At 12:24 PM 1/1/2005, Theatre Safety Programs wrote: >> http://www.projo.com/news/content/projo_20050101_fire01x.1441be.html >> >> check out this article in the providence journal -- deja vu all over >> again > > > I get: "For full access to our award-winning news coverage and > interactive subscription services, please complete this simple > one-time form below." > > Maybe you could summarize? ------------------------------ Message-ID: <000901c4f068$d502c4d0$0600000a [at] BRUTUS> From: "Jon Ares" References:

Subject: Re: Similarities to Station fire dismay officials in R.I. Date: Sat, 1 Jan 2005 17:17:30 -0800 > He said the Buenos Aires disco was a former bowling alley that was exempt > from modern fire codes. > Sheesh, I love that. Life Safety be damned - it's an old building, so if you die, it's not the building's fault. I'm sure the person quoted was saying something to the effect that "in its day" the building wasn't built with today's codes in mind. Not exactly the same as saying something is 'exempt.' -- Jon Ares Program Director, West Linn HS Theatre Arts www.hevanet.com/acreative www.wlhstheatre.org ------------------------------ Message-ID: In-Reply-To: From: "RICHARD FINKELSTEIN" Subject: More intel. prop. stuff Date: Sat, 01 Jan 2005 23:22:59 -0500 What a fun thread! Hey Pat K. Thanks for posting the copyright blurb on your website! Other points: Although I too have heard that you can't copyright titles, here too there seem to be nuances or at least pitfalls. For instance, someone on the list gave an example that you could do a play with the title "Star Wars". Not true. While the 2 words might not be protected under copyright they ARE protected as a trade name! I believe that most film titles are thus protected, and it is astonishing what is protected under this mechanism.....like Fox being the only one able to claim "fair and balanced" (the ultimate irony being how can ANYTHING be balanced with a monopoly to only one side by trade name law!) There seems to be other nuances too. In the 1977 Equity summer season at Carnegie Mellon U we were set to do a new translation by Charlie Peters of Feydeau's "The Happy Hunter". At great expens though posters, programs, etc. had then to be reprinted with a new title "A Hunting We Will Go". Some in the audience actually got upset: "I bought tickets to "The Happy Hunter", why am I seeing "A Hunting We Will Go". At the time the explanation that I got was that no two translations of a work can have the same title and a previous translation was called "The Happy Hunter".....but on reflection I don't get it. What of plays like "The Seagull". There ALL the translations have that same name. So to date it is still a mystery to me as to exactly what was going on. It could all have been just a big mistake for all I know. Now on to this one... >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 It reminds me of my brainstorm back in public school where I decided to (in my fantasys anyway) copyright the school's report card so that I could then sue the school for issuing them! Alas it doesn't work that way. You can't copyright a form, and besides you can only copyright work of your own or work assigned to you. However, as someone else in the discussion pinted out, you could get extra claims tacked on to your patent if "unclaimed" by others. Peter Foy used to tell the story about how when he applied for one of his patents, the patent office tried to give him in the process the patent on all counterweight rigging systems in the deal (Foy declined!) In my own research I HAVE found though that things we take for granted as absolutely basic actually started life as a patent. For instance, I have actually found patents for both translucent drop and scrim drop technology during the course of my investigations! Amazing but true. ------------------------------ Message-ID: From: "RICHARD FINKELSTEIN" Subject: Lighting history mysteries Date: Sat, 01 Jan 2005 23:34:49 -0500 This is for the experts out there. .... You all know the lore about Tharon Musser "bringing computer lighting to Broadway" via "A Chorus Line". But over break I had been going through Theatre Crafts and Lighting Dimensions from the 1970s-1990 looking for more info for the lighting chronology I have been working on since the 1970s. and I came across a fascinating paragraph....that begs for more info/clarification. Can any of you help. Alas I already threw the issue in question into the storage box so I don't have the issue specifics but after an article on the Musser/Chorus Line/Broadway connection, the magazine (TC 8/86). The correction stated that The Vivian Beaumont Theatre had earlier installed a Thorn Q-File in June of 1973 and that their production of the revival of Man of La Mancha, designed by Ralph Holmes, was the first to actually use a computer system on Broadway. In an attempt to check up on this claim I went to The Internet Broadway Database and there was a significant discrepency. I first went to check on the Broadway status of the Beaumont. At the end of the 1980s I know they had one Broadway and One Off-Broadway designation within the same building. Indeed I found the listing in the IBDB of the La Mancha production, but the listing had the show open and close in 1972, a year before the claim in the Theatre Crafts "correction". They also did not list Ralph Holmes as LD but I have seen LDs miscredited countless times. So do any of you know the particulars of this production? Was it indeed a Broadway production some two years before Musser's to use Computer controlled lighting? ------------------------------ From: "ladesigners [at] juno.com" Date: Sun, 2 Jan 2005 05:49:09 GMT Subject: Re: More intel. prop. stuff Message-Id: <20050101.214936.599.135606 [at] webmail13.lax.untd.com> It does not always work that way. I have been an Entertainment Lawyer for over 20 years and a Producer for over 30 years; the majority of that time as a Temporary Judge in LA. Even if 'Star Wars' is protected as a trade name in those states where 'Star Wars' products or services are distributed, if there is no likelihood of confusion, the plaintiff must still prove duty, breach of duty, causation, and damages, under Trademark, Trade Name, or Trade Dress case law, whereas under Title 17, U.S. Code (the Copyright Act) damages are statutory, and you do NOT have to prove that you were damaged. I can produce a play about battles between movie stars to land plum role and call it 'Star Wars', as long as there is no likelihood of confusion caused by similar type styles incorporated in the work or it's promotion, and George Lucas, et al, cannot prove his mark was diluted or he was otherwise damaged. /s/ Richard 2003 Constitutional Rights Foundation Private Sector Lawyer of the Year and Current President of the Lawyers Club of Los Angeles County. ___________ Although I too have heard that you can't copyright titles, here too there seem to be nuances or at least pitfalls. For instance, someone on the list gave an example that you could do a play with the title "Star Wars". Not true. While the 2 words might not be protected under copyright they ARE protected as a trade name! ________________________________________________________________ Juno Gift Certificates Give the gift of Internet access this holiday season. http://www.juno.com/give ------------------------------ Message-ID: <000501c4f090$7e076ff0$0600000a [at] BRUTUS> From: "Jon Ares" References: Subject: Re: More intel. prop. stuff Date: Sat, 1 Jan 2005 22:01:25 -0800 > as long as there is no likelihood of confusion caused by similar type > styles incorporated in the work or it's promotion, Yeah, like that poor teen in Canada by the name of Mike Rowe, who had the site named MikeRoweSoft.com who got beat up by some thugs from Redmond, Washington..... ;) -- Jon Ares Program Director, West Linn HS Theatre Arts www.hevanet.com/acreative www.wlhstheatre.org ------------------------------ From: "Dr. Randall W.A. Davidson" Subject: RE: Similarities to Station fire dismay officials in R.I. Date: Sat, 1 Jan 2005 22:10:07 -0800 Message-ID: <000001c4f091$b6b50fa0$8d90fea9 [at] DrDoomsComputer> In-Reply-To: Having inspected so many of these night clubs for over forty years, and working with the NFPA. Life Safety Code committee, and other fire officials, we have developed risk management and safety programs for many entities like the Station, and I am saddened that these incidents continue here and elsewhere. Insurance companies can help make a difference ... can. Dr. Doom -- Dr. Randall W.A. Davidson, Risk International & Associates, Inc. - www.riskit.com Latest workshops for Educational and Entertainment Industry Performing Arts Personnel (Riggers, and Public Assembly and Educational Technicians) www.riskit.com/workshops International Secondary Education Theater Safety Association (ISETSA) - www.isetsa.org -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Theatre Safety Programs Sent: Saturday, January 01, 2005 12:25 PM To: Stagecraft Subject: Similarities to Station fire dismay officials in R.I. For info, archives & UNSUBSCRIBE, see --------------------------------------------------- http://www.projo.com/news/content/projo_20050101_fire01x.1441be.html check out this article in the providence journal -- deja vu all over again jerry gorrell ------------------------------ From: "Dr. Randall W.A. Davidson" Subject: RE: Similarities to Station fire dismay officials in R.I. Date: Sat, 1 Jan 2005 22:24:23 -0800 Message-ID: <001101c4f093$b434bb70$8d90fea9 [at] DrDoomsComputer> In-Reply-To: WE go through clubs and similar venues and fire sites with insurance investigators and loss control personnel, and item for item the same types of forensic items show up, and they continue. Whether the club is in a hotel, or a resort, or a stand alone site, they all seem to be the same. Whether the club is in a town or a city or part of some larger complex in one of these geographic areas, it seems the same attitudes continue. I have worked for some attorney generals in states and cities and they all seem blind sided by what occurs, and that concerns me. Whether it is locked exits, a sheer lack of fire prevention equipment, lack of trained personnel, or just crowding and no emergency plan ... the end result is the same .. a potential environment for station fires and deaths. The reality is that we see this in educational environments as well, and many city and public venues. If the Codes and Standards were applied there might be a difference. Each of us must help in our own way with knowledge and training, and notifications. The first night club I did was in New York City, and that night club is no longer there. 1946. I knew the owners and I am sure that my comments were just passed off. Dr. 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 Jerry Durand Sent: Saturday, January 01, 2005 12:41 PM To: Stagecraft Subject: Re: Similarities to Station fire dismay officials in R.I. For info, archives & UNSUBSCRIBE, see --------------------------------------------------- At 12:24 PM 1/1/2005, Theatre Safety Programs wrote: >http://www.projo.com/news/content/projo_20050101_fire01x.1441be.html > >check out this article in the providence journal -- deja vu all over again I get: "For full access to our award-winning news coverage and interactive subscription services, please complete this simple one-time form below." Maybe you could summarize? ---------- Jerry Durand Durand Interstellar, Inc. 219 Oak Wood Way Los Gatos, California 95032-2523 USA tel: +1 408 356-3886 fax: +1 408 356-4659 web: www.interstellar.com ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Lighting history mysteries Date: Sun, 2 Jan 2005 04:17:38 -0500 Message-ID: <000201c4f0ab$ec5edbd0$6501a8c0 [at] Dell> In-Reply-To: > So do any of you know the particulars of this production? > Was it indeed a > Broadway production some two years before Musser's to use Computer > controlled lighting? In the Fall of 1972, I attended the National Theatre Institute. The design students all spent a week in NY, where we attended that production and had a tour of the Beaumont. There was indeed a Q-File there. ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Cc: stagecraft [at] jeffsalzberg.com Subject: RE: Lighting history mysteries Date: Sun, 2 Jan 2005 04:58:28 -0500 Message-ID: <000001c4f0b1$9ee7b740$6501a8c0 [at] Dell> In-Reply-To: > In the Fall of 1972, I attended the National Theatre > Institute. The design students all spent a week in NY, where > we attended that production and had a tour of the Beaumont. > There was indeed a Q-File there. ...Except now, after I see that in print, I'm thinking that I might be thinking of the Kliegl Memo-Q that was in the Metropolitan Opera House.... ------------------------------ End of Stagecraft Digest #246 *****************************