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To: ftth who wrote (7879)	8/4/2000 2:08:47 AM
From: Raymond Duray	Respond to of 12823

So who the heck is coppin' royalties for Mozart? Say that you are a connoisseur and you happen to be a particular admirer of the performance of La Nozze di Figaro by the chorus and orchestra of the Deutsche Oper, Berlin, under the direction of Karl Bohm. Is this the stellar version that cable-audio would provide? Hardly, because a royalty payment would be due to Uni/Deutsche Grammophon. What the MSO's would do is to find a lovely performance of the piece by the opera company in Midland, or Odessa, or Salina and let the cable listener have a second tier experience. At a significantly reduced royalty cost to the MSO organization. As far as I know, Mozart and his heirs and successors are out of luck. [[Which brings up an interesting aside about the Salon diatribe by Courtney Love. Considering the surreptitious and conniving midnight modification of the copyright laws as the RIAA was able to cram down the throat of every recording artist of present and future generations, we no longer will have embarassing episodes like we did a couple of years ago where Paul Allen was able, at the cost of several million dollars (and some distinctly bad press for the record companies,) to secure the rights to Jimi Hendrix legacy for Hendrix family. No, from this point forward, such valiant efforts are to be precluded by the rewording of the copyright law. Now families just don't have a legal leg to stand on. ]] You ask: Is this only certain labels? My experience with the cable audio is that they have selected second tier artists across the board, classics, old jazz, acid jazz, smooth jazz, oldies, blues, you name it and they've managed to line up a string of artists you've never heard of, but have heard their better competitors on the radio, etc. And no, I have no idea how much they've saved by being parsimonious and demonstating bad taste. Best, Ray PS: Sorry 'bout the stump speech, dood. I was inspired by Dubya! :~))