Word: copyright
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Dates: during 1960-1969
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Three years ago, Manhattan Adman David Ogilvy, 54, completed his Confessions of an Advertising Man, and decided to make a fatherly gesture. "I guessed it would sell about 3,000 copies," he ruefully told the Association of Canadian Advertisers. "So I gave the copyright to my son David for his 21st birthday. This was a ghastly mistake. The book sold 400,000 copies. The net result is that my son has spent two years on safari in Africa and skiing in Austria, while I've been working my fingers to the bone. The least he might...
...resolve the question of the four-bar coincidence, David's publishers sued Herman for copyright infringement, asking for all of Herman's "gains, profits and advantages," as well as damages. Dolly's Herman was indignant. "I was stunned," he says, "when this man claimed that a few notes in my song were similar to his song." Sunflower's David persisted. The case never got to court. As often happens in such situations, the litigants tried to iron things out without publicity. Nevertheless, reported Variety last week, in spite of flat denials and "no comments" from...
...moods before eventually shooting himself in 1961. In writing these reminiscences, argued "Miss Mary," Hotchner had used Papa's spoken words, which should be considered his property. But New York State Supreme Court Justice Harry Frank ruled that "spontaneous oral conversation with friends" cannot be considered subject to copyright. Random House will publish Papa Hemingway in April...
...peculiar agony that creating an opera can be. When he got the Ford Foundation's grant four years ago, he first tried a setting of DuBose Heyward's novel Mamba's Daughters, was deep into it when the project had to be scuttled be cause of copyright problems. Then he tackled an original libretto by a friend, entitled The Cave. But alas, says Rorem, "after I had finished the whole thing, nobody knew what it was all about, including...
Deep South? Hollywood? On to Colette's Cheri; more copyright problems, another misfire. Deciding that "you can't write opera unless it's you," he hit on Strindberg's play Miss Julie, whose morbid Freudian thickets "fitted me; I am fascinated with death." The Scandinavian setting, too, suited his Norwegian heritage, but he and Librettist Kenward Elmslie figured that the drama might have more impact if transformed into a love tragedy involving a Deep South heiress and her Negro servant. Timely and all that. Off to New Orleans they went to soak up some local color...