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About The daily Nebraskan. ([Lincoln, Neb.) 1901-current | View Entire Issue (Nov. 4, 1996)
Concerns arise over
musical Internet site
By Cliff Hicks
Some say it’s a violation of copy
Some say it’s nothing more than
friends swapping information.
Either way, it’s still a hotbed of dis
cussion on the Internet—the On-Line
Guitar Archive, nicknamed OLGA.
OLGA is a storage site for guitar
tablature, or TAB for short. TAB is a
form of writing that guitarists use to
display the chords and notes used to
play a song, with six lines used to rep
resent the six strings on a guitar.
Earlier this year, music publishing
giant EMI sent a letter to the Univer
sity of Nevada demanding that OLGA
be shut down, claiming that it was an
infringement on their copyrights for
published sheet music.
Such action has enraged OLGA’s
representative, Cal Woods, who is now
a second-year graduate philosophy stu
dent at Tulane.
“Originally, people would post on
the newsgroups, requesting a song and
after a week or so, the post gets aged
off,” Woods said. “The next week
people would come looking for the
same song, which caused the archive
to be created.”
OLGA was started in the summer
of 1992 by a University of Nevada stu
dent named James Bender. In June
1994, Bender turned the project over
to Woods. When OLGA began, it was
accessible to people who knew how to
use File Transfer Protocal, or FTP.
Since then, World Wide Web access
has become relatively easy.
In October of 1995, EMI UK
, forced the closure of OLGA’s British
“It’s my understanding that EMI
and EMI UK are almost separate enti
ties. There was no direct follow-up so
it seems EMI UK was acting indepen
dently,” Woods said.
Things were all quiet until Febru
ary 1996, when EMI sent the letter to
the University of Nevada. OLGA was
suspended while the university looked
into the situation.
“I had the letter read to me over the
phone,” Woods said. “It said, basically,
that holding OLGA was a breach of
copyright and that they would use all
available measures to enforce their
copyright unless the university took
^ down the archive.”
Then, in April 1996, the site was
permanently taken off the University
of Nevada’s server.
But the University of Nevada
wasn’t the only place to get to OLGA.
Since keeping everything on only one
page would have put an immense
amount of strain on the system, OLGA
When a site is mirrored, other iden
tical sites pop up on other servers that
users can access to lighten the load of
the main server.
Since the University of Nevada shut
down the site, all of the mirror sites
that were housed at academic institu
tions have closed. In their place, how
ever, many private sites have gone up.
At that point, the protests began.
It began with a boycott list. The list
has grown to more than 2,500 people.
“If you look at it, 2,500 people, who
all refrain from buying one CD, at $ 15
a CD that’s a lot,” Woods said.
Not only does the boycott list in
clude students and musicians, it also
includes a karaoke distributor who will
not purchase anything from EMI.
Beyond this, one of the mirrors put
up an automated fax. What would hap
pen is that a user would go to the page,
enter their information and then a fax
would automatically be sent by com
puter to EMI.
Since then, the number nas been
struck from EMI’s fax, meaning that
the calls will not be put through. At
present, there are 21 sites that house
OLGA, and they are' now being up
Woods says there are several argu
ments for the archive and very few
against. The most substantial argument
springs from a recent court ruling that,
according to Woods, defines the
Internet as “an ongoing conversation.”
One of the other major points is the
fact that much of what is on the archive
is unpublished music.
“At a very rough guess, I’d say less
than 5 percent of what is on OLGA is
published music,” Woods said.
On top of all of this, what OLGA
holds is what people have figured out
on their own, not copied sheet music.
“A lot of people have said they hear
a song on the radio, then they get the
song from OLGA,” Woods said. “Usu
ally, if they want to get it perfect they
have to go out and buy the sheet music
or the CD, so it makes commercial
sense for EMI to leave OLGA alone.”
EMI did not return several calls to
their office. According to Woods, they
have said almost nothing since the let
ter to the University of Nevada, even
with the private mirrors open.
“No formal contact has been made.
No threat has been made to me as a
representative of OLGA. I sent them
an index of everything on OLGA and
we have not heard back since,” Woods
“Maider cast adds strong emotion
By Liza Holtmeier
In an intimate apartment in New
York City’s West Side, audiences be
held a powerful portrayal of a Jewish
family continuing life after the Holo
The story of the Weiss family was
brought to life this weekend by the
UNL theatre department’s cast of “A
" ShaynaMaidel,” which translates into
English as “pretty girl.”
The play tells the story of Lusia
Weiss Pechenik (played by Amy
Gaither-Hayes), who has been reunited
with her father Mordechai (Robert
Hurst) and her sister Rose (Jacque
Camperud) after years of separation.
*** Mordechai and Rose have lived in
America since before the Depression
while Lusia and her mother remained
From the beginning, it was evident
that the cast had the ability to provide
the depth that the play demanded.
Hurst commanded the audience’s
attention from the moment he entered.
His walk, his facial expressions, his
stage presence and the fluidity of his
accent created the vivid image of a
stem but loving Jewish father.
Camperud’s ability to translate her
character’s complex emotions into her
gestures and physical form shined
through in her role as Rose. She passed
naturally through states of pain, ner
vousness, happiness, excitement and
This ability became more pro
nounced with the entrance of Gaither
Hayes. The two women served as per
fect contrasts of one another. On one
side was Rose who displayed her emo
tions for all to see, and on the other
side was Lusia who constantly masked
The role of Lusia also showcased
Gaither-Hayes’ naturalness on stage.
There were no awkward pauses before
movement or lines; everything seemed
to flow out of her. She made smooth
transitions from child to adult in the
dream scenes, while making visible the
progress her character made as she
became comfortable around her sister
and moved on with her life.
The tenderness and chemistry of
Lusia and her husband Duvid (Brad
ley Mausbach) brought smiles to the
audiences faces. The two perfectly
portrayed young, hopeful love.
However, the scene where the two
were reunited left something to be de
sired. The full extent of the characters’
mixed emotions in this scene did not
Please see MAIDEL on 13
i I MX • JimMehslincVDN
Haisin’ brought to life by
exceptional cast, modest set
By Bret Schulte
Hie Lincoln Community Playhouse
has brought a contemporary American
classic of poverty, racism and hope to
town with their current production, “A
Raisin in the Sun.” Written by Lorraine
Hansbury at the age of 29, “A Raisin
in the Sun” was recognized as Best
Play by the New York Drama Critics
Now, almost 40 years later, “A Rai
sin in the Sun” is regarded as one of
the foremost pieces of modem black
literature. Set in Chicago’s inner city,
Hansbury’s play focuses on a black
family cramped into a small apartment
with only each other and their dreams
to sustain them.
Walter Lee Younger, zealously
played by Calvin Haywood (who also
appeared in the theatrical release of
“Driving Miss Daisy”), Is a man
trapped by his color and frustrated by
his dreams. The recent death of his fa
ther is bringing an insurance check for
$ 10,000, due the next day, to the apart
ment where he lives with his mother,
sister, wife and son.
This insurance money represents
hope to all the family members. For
his sister, Beneatha, it is a chance to
attend medical school. His mother sees
it as a chance to escape the concrete
claustrophobia of the ghetto. And for
Walter, it is power, enabling him to
Please see RAISIN on 14
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