Captain Howdy

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  1. You mean the Yamaguchi book, yes? I'm in the US and have no problem.
  2. Based upon my extensive legal knowledge gleaned from skimming the NYT article, the cases will revolve around the potential earnings value of the lost catalogs and not any moral obligations to preserve cultural treasures. The artists won't be able to release anymore Remastered-from-the-analog-tapes Super Deluxe Limited Editions with bonus never-before-released tracks. They can argue that they've lost millions of dollars due to UMG's negligence. Plus, who knows what technology might be developed in the future that would have enabled them to re-release the material in even greater sonic quality: some day it will be ported right into our skulls.
  3. On June 11, 2002, Troupe was appointed California's first poet laureate by then Governor Gray Davis. A background check related to the new political appointment revealed that Troupe had, in fact, never possessed a degree from Grambling; he attended for only two semesters in 1957–58 and then dropped out.[11] After admitting that he had not earned a degree, he made the decision to resign, rather have it become a political issue for the Democratic Governor.[citation needed] As a consequence, he resigned from the poet laureate's position in October 2002 and retired from his post at UCSD.
  4. Hopefully UMG gets raked over the coals. Maybe then other labels will take their responsibilities more seriously.
  5. Storyville Magazine (bound)

    Even better deal
  6. Bill Doggett's Band Dressed Better

    Be careful around those collar points if you don't want to lose an eye.
  7. Black & Blue Records - CD Offer

    Were these recordings made by/for B&B in the 70s? Obviously not all of them because I see e.g. a comp of Erskine Hawkins from the 1930s when he was recording for Decca.
  8. Black & Blue Records - CD Offer

    I'm not familiar with Black & Blue. What's the skinny?
  9. Essential Benny Goodman

    And as Ted already noted, the Savory recordings sound better than any others -- at least any others I've heard.
  10. 2008 Universal Fire - How many ARGO masters BURNED UP?

    I suppose they had no way of knowing, and perhaps not that much incentive to find out. The new Times article takes for granted that the average reader doesn't even understand what master tapes are or why they're important.
  11. Essential Benny Goodman

    Why not do both?
  12. Well then, good news: In January 2011, the recorded-sound section of the Library of Congress announced its largest-ever acquisition: approximately 200,000 metal parts, aluminum and glass lacquer disc masters, donated by Universal Music Group. The recordings, dating from 1926 to 1948, are among the oldest extant masters in UMG’s catalog. Physical ownership of the masters was permanently transferred from UMG to the federal government; UMG retained the intellectual-property rights. The library is free to preserve the recordings, digitize them and make them available to scholars. The label can continue to exploit them commercially. For the label, it’s a great deal, transferring preservation responsibility for some of its most fragile assets while saving on storage costs.
  13. Essential Benny Goodman

    Why wasn't 1944 instrumental version of "All the Cats Join In" included in the Mosaic box? Because it was issued on Capitol?
  14. Record contracts are notoriously slanted in the favor of labels, which benefit disproportionately from sales and, in most cases, hold ownership of masters. For decades, standard artists’ contracts stipulated that recordings were “work for hire,” with record companies retaining control of masters in perpetuity. It is a paradox of the record business: Labels have often been cavalier about physically safeguarding masters, but they are zealous guardians of their ownership and intellectual-property rights. Certain musicians, usually big stars, negotiate ownership of masters. (“If you don’t own your masters, your master owns you,” quipped Prince in 1996, at the height of a high-profile standoff with Warner Brothers.) It is unclear how many of the artists whose work was lost in the Universal vault had ownership of their physical masters, or were seeking it. But by definition, artists have a stake in the intellectual property contained on those masters, and many artists surely expected UMG to safeguard the material for potential later use. (How do I make the above a quotation?) Here's an interesting question? Would it be better if the masters were owned by the artists? In some cases probably, but in many cases it's easy to imagine masters ending up in cardboard boxes in flooded basements, or passed after death from one increasingly distant relative to another, or tied up in probate court, or simply lost.