Archived posting to the Leica Users Group, 2000/03/16
[Author Prev] [Author Next] [Thread Prev] [Thread Next] [Author Index] [Topic Index] [Home] [Search]At 09:21 PM 3/15/2000 -0800, Rich Lahrson wrote: > That was half an century ago. Tape recording 'live' was a brand >new technic. One guy was able to set up the machine in the men's room and >run the wire for the mike to the stage. I think it was another fella, >Italian, who idolized Bird and followed him around with a wire recorder >(pre-tape days). The double album I'm thinking of, the taper ecorder in >the men's room is called "A Night at Birdland", a great item as Charlie >Parker is able to stretch out on some solos for 3 or 4 minutes, something >that wasn't possible in the studio (about 1950). But the basic question stands: did Parker or his estate ever get paid for this "taking" of his talent? Are you advocating theft of an artist's performances for personal gain? I am not, as regular LUG'ers know, a very firm proponent of copyright, but accepting the sale of pirated recordings strikes me as a bit on the shady side, regardless of their "cultural worth". The ends, after all, do not justify the means. Marc msmall@roanoke.infi.net FAX: +540/343-7315 Cha robh bas fir gun ghras fir!