You know you are getting old when:

[2jakes]

The only time I volunteered to clean the
chalkboard or other chores after school
was with a teacher with whom I had
a crush.
One afternoon after class, we sat together
by ourselves and although very shy, I was
able to express my feelings for her.
This was the closest I had been, face to face
with her. Beautiful face and lovely scent of
a woman.
She smiled and express her thoughts in
a kind way about what was happening.
She cared for me and last thing I recall
is her telling me it could only be a
platonic love.
I kind of knew what she meant. But I had
to look it up later to make sure.
It took a long time to get over this feeling.
Being in love was not a happy feeling.
I was miserable with an heavy pain in
my chest, no appetite just moping around
and very blue.
But in the world of kiddom...there
were many things happening & eventually
I outgrew it. At least for awhile.

 

[Eyeofsauron]

I am at a doctor's office that I haven't been in in over 40 years. My brother told me it was different than it was back the, I can't remember what it looked like. This makes me realize how old I am, though I don't feel that I'm this old. Well most of the time.


Sent from my XT1650 using Tapatalk

 

[Zombie_61]

Speaking of doctors, on another forum I visit regularly we're sharing colonoscopy stories. As Bill Engvall might say, "Here's your sign."

 

[Inkstainedwretch]

When it dawns on you that there is now a whole generation of adults who can hear the William Tell Overature and not think of the Lone Ranger.

 

[GHT]

When it dawns on you that there is now a whole generation of adults who can hear the William Tell Overature and not think of the Lone Ranger.

I doubt that, but I do wonder if the Rossini family ever received any royalties.

 

[Zombie_61]

When it dawns on you that there is now a whole generation of adults who can hear the William Tell Overature and not think of the Lone Ranger.

"The William Tell what? Oh, you mean that lonely ranger song."

 

[Trenchfriend]

When two years from now, the year 2000 is twenty years ago.

EDIT:
Corrected.

 

[Lean'n'mean]

I doubt that, but I do wonder if the Rossini family ever received any royalties.

Nope, most 19th century classical works are in the 'public domain'...;as long as you use you own recording you can use any piece of music as you wish.

 

[GHT]

First time I realised that was when I heard Elvis sing: "It's Now Or Never." I'm not sure of the length of time on copyright, whether it continues after death or even changes from one country to another. But what did surprise me was the plagiarising of The Andrews Sister's: "Boogie Woogie Bugle Boy." Christina Aguilera's version, renamed: "Candyman," was an almost like for like copy, but nothing said. Yet there have been some very notable court cases over plagiarism.

 

[ChrisB]

When in two years, the year 2000 is twenty years ago.

When writing the date, I still find myself starting with “19” occaisionaly.

 

[LizzieMaine]

Nope, most 19th century classical works are in the 'public domain'...;as long as you use you own recording you can use any piece of music as you wish.

Yep. George W. Trendle, the Ranger's creator, was the cheapest of skates when it came to production costs for his programs. He not only demanded that all music used for "The Lone Ranger," "The Green Hornet," and "Challenge of the Yukon" not only be well-worn public domain pieces, but he also required that they be played, not by a live orchestra in the studio, as was the usual custom for radio drama, or from a leased transcription library, but from ordinary commercial phonograph records. The American Federation of Musicians was not as powerful in Detroit as it was in the major production centers of New York, Chicago, San Francisco, and Hollywood, so he was able to get away with this cheesiness for a very long time.

The exact record used thru the run of "The Lone Ranger" was Victor record number 20606 by the Victor Symphony Orchestra, recorded on April 11, 1927. You could buy it over the counter at your neighborhood record shop for seventy-five cents.

 

[Lean'n'mean]

When in two years, the year 2000 is twenty years ago.

Yes but in two years, 2001 is Fifty two years ago.

 

[Fading Fast]

Yep. George W. Trendle, the Ranger's creator, was the cheapest of skates when it came to production costs for his programs. He not only demanded that all music used for "The Lone Ranger," "The Green Hornet," and "Challenge of the Yukon" not only be well-worn public domain pieces, but he also required that they be played, not by a live orchestra in the studio, as was the usual custom for radio drama, or from a leased transcription library, but from ordinary commercial phonograph records. The American Federation of Musicians was not as powerful in Detroit as it was in the major production centers of New York, Chicago, San Francisco, and Hollywood, so he was able to get away with this cheesiness for a very long time.

The exact record used thru the run of "The Lone Ranger" was Victor record number 20606 by the Victor Symphony Orchestra, recorded on April 11, 1927. You could buy it over the counter at your neighborhood record shop for seventy-five cents.

Recognizing that I'm touching on an issue that is very important to you, I am asking a sincere question. Was it illegal and /or in conflict with the terms of the union contract for a producer of a radio program to use a commercial recording of a public domain piece to save money?

 

[LizzieMaine]

In Chicago, New York, Hollywood, and San Francisco it was -- contracts required that all music on network programs had to be performed live, even down to the fill music used to fill dead air when technical difficulties interrupted a program. But I'm not sure if WXYZ, Trendle's station, was even under an AFM contract at the time. He would have fought it tooth and claw.

The AFM was probably strongest in Chicago, which was home base for union president James C. Petrillo. The contract there required that if phonograph records or transcriptions were used, the person operating the equipment had to be an AFM member. The National Association of Broadcasters hated Petrillo with a passion, as you can imagine, but he was quite popular with the rank and file.

 

[Zombie_61]

When writing the date, I still find myself starting with “19” occaisionaly.

One of my co-workers at the turn of the century was apparently unable to mentally grasp the concept and throughout the year 2000 consistently referred to it verbally as "Nineteen Two Thousand". Strangely, he referred to the following year as 2001 with no problems.

 

[GHT]

Throughout my life I cannot recall ever having an H2O deficiency. Then again, I've never got my head around I-Gizmos either.

 

[ChiTownScion]

In Chicago, New York, Hollywood, and San Francisco it was -- contracts required that all music on network programs had to be performed live, even down to the fill music used to fill dead air when technical difficulties interrupted a program. But I'm not sure if WXYZ, Trendle's station, was even under an AFM contract at the time. He would have fought it tooth and claw.

The AFM was probably strongest in Chicago, which was home base for union president James C. Petrillo. The contract there required that if phonograph records or transcriptions were used, the person operating the equipment had to be an AFM member. The National Association of Broadcasters hated Petrillo with a passion, as you can imagine, but he was quite popular with the rank and file.

The name still lives on here. The Grant Park Music Shell is named for him. Doubt that few visitors for the Taste or other events even realize who he was, but he shaped popular music in this country. Arguably, the war time strike of the AFM killed the Big Band Era, but musicians are entitled to royalties when their work is broadcast because of it.

 

[LizzieMaine]

The strike may have helped a little, but the real death blow to the Swing Era was gas rationing, which took hold nationwide at the end of 1942. That put an instant kibosh on one-night-standing by bands, and the coup-de-grace was the ban on recreational driving by civilians -- if you couldn't drive to a roadhouse to dance, it didn't matter if the bands were there or not.

You could still get good swing music on the radio via live remotes from hotels, but the heart went out of it when people couldn't go out and dance.

It's pretty funny to read issues of Broadcasting magazine from the mid-forties and see how the NAB considered Petrillo the next worst thing to Satan The Devil In Person. He seemed to relish this image, and would often play it up in the media, playing the role of the "big labor boss" with a cigar in his face to the hilt. In a profile for Life magazine in 1942, he willingly posed in a top hat and morning suit to go with the cigar, and it's pretty obvious he's doing it to stick a thumb in the eye of the NAB.

Some of his enemies claimed he wasn't even a musician at all, but he was -- he played trumpet and trombone well enough to work for Paul Whiteman for a while, and had his own orchestra in Chicago -- which he led under the name of "Caesar Petrillo" -- before he became AFM president.

 

[vitanola]

Topical

The strike may have helped a little, but the real death blow to the Swing Era was gas rationing, which took hold nationwide at the end of 1942. That put an instant kibosh on one-night-standing by bands, and the coup-de-grace was the ban on recreational driving by civilians -- if you couldn't drive to a roadhouse to dance, it didn't matter if the bands were there or not.

You could still get good swing music on the radio via live remotes from hotels, but the heart went out of it when people couldn't go out and dance.

It's pretty funny to read issues of Broadcasting magazine from the mid-forties and see how the NAB considered Petrillo the next worst thing to Satan The Devil In Person. He seemed to relish this image, and would often play it up in the media, playing the role of the "big labor boss" with a cigar in his face to the hilt. In a profile for Life magazine in 1942, he willingly posed in a top hat and morning suit to go with the cigar, and it's pretty obvious he's doing it to stick a thumb in the eye of the NAB.

Some of his enemies claimed he wasn't even a musician at all, but he was -- he played trumpet and trombone well enough to work for Paul Whiteman for a while, and had his own orchestra in Chicago -- which he led under the name of "Caesar Petrillo" -- before he became AFM president.

Topical song referring to the AFM's second recording ban of '48:

 

[LizzieMaine]

That 1948 strike was a direct response to the Taft-Hartley Act, which among other sweeping anti-labor clauses contained language that essentially made the AFM's Recording and Transcription fund, the major accomplishment of the 1942 strike, illegal. Petrillo fought back the only way he could, and was partially successful -- the union and recording companies formed a new, independently-administered fund not controlled by the union, and thus not governed by Taft-Hartley. That fund continues to exist to this day, providing thousands of free musical performances for young people every year.