<IEER_DOC type="NEWSWIRE" fileid="" collect_date="" collect_src="" src_lang="" content_lang="" proc_remarks="IEER document translation">
<DOC>
<DOCNO> NYT19980315.0063 </DOCNO>
<DOCTYPE> NEWS STORY </DOCTYPE>
<DATE_TIME> 03/15/1998 16:37:00 </DATE_TIME>
<BODY>
<HEADLINE>
PUBLIC RADIO HOSTS DROP IN AND MAYBE STAY TOO LONG
</HEADLINE>
<TEXT>
	   For almost <b_timex type="DURATION">20 years<e_timex>, since its debut in <b_timex type="DATE">1979<e_timex>, <b_enamex type="PERSON">Bob Edwards<e_enamex> has
presided over the <b_enamex type="ORGANIZATION">National Public Radio<e_enamex> news magazine ``Morning
Edition.'' But from the start, the soothing, avuncular tone that is
<b_enamex type="PERSON">Edwards<e_enamex>' trademark raised certain questions.
	   ``Isn't that man dangerous?'' a <b_numex type="MEASURE">10-year<e_numex>-old in the school car
pool I was driving asked in <b_timex type="DATE">1980<e_timex>.
	   I couldn't imagine what could be less dangerous. ``What are you
talking about?'' I asked.
	   ``It's early in the morning,'' she said. ``There are all these
people driving around. He's going to make them all go back to
sleep.''
	   Like a number of other high-profile <b_enamex type="ORGANIZATION">NPR<e_enamex> news-magazine hosts or
news readers, <b_enamex type="PERSON">Edwards<e_enamex> conveys a distinct sense of disengagement
with the subjects he is presenting: the latest Serbian atrocities
or an odd little cow-up-a-tree human-interest story from <b_enamex type="LOCATION">Iowa<e_enamex>. It's
a distance that translates into a sense of superiority over
whatever is being talked about. It's shared by the ``All Things
Considered'' hosts, <b_enamex type="PERSON">Robert Siegel<e_enamex> and <b_enamex type="PERSON">Linda Wertheimer<e_enamex>, and the
hourly news reader <b_enamex type="PERSON">Ann Taylor<e_enamex> as, year by year, day by day, they
wend their way through the vagaries of events and time. What comes
across is a sense of boredom with the world.
	   With <b_enamex type="PERSON">Edwards<e_enamex>, boredom might be the product. He is not remotely
offensive; he is always patient. He sounds as if he has all the
time in the world. Pleasantly, like a neighbor who drops in for
coffee every morning at precisely the same time, <b_enamex type="PERSON">Edwards<e_enamex> conveys
the feeling that nothing can really surprise him. What could be
more reassuring? On and on he drones, with little broadcasting
pronunciation tics to keep your ear attuned to the blanket of
syllables issuing from his mouth: a singsongy rhythm, pauses that
break the rhythm, a warm, soft entrance into the next clause that
restores the continuity.
	   It begins to seem certain that nothing will ever change. Not
only will the sun rise tomorrow, <b_enamex type="PERSON">Edwards<e_enamex>' performance says, it will
rise tomorrow in exactly the same manner in which it rose today.
	   Presidents, senators, representatives, sports heroes, film
stars, flood victims: <b_enamex type="PERSON">Edwards<e_enamex>, his tone says, was here before they
got here, and he'll be here when they are gone. Set forth in a less
kindly manner, the same story is told by <b_enamex type="PERSON">Siegel<e_enamex>, Ms. <b_enamex type="PERSON">Wertheimer<e_enamex> and
Ms. <b_enamex type="PERSON">Taylor<e_enamex>. <b_enamex type="PERSON">Edwards<e_enamex>' patience is replaced by impatience. The world
will never change, these people are telling you, but, maddeningly,
the world keeps pretending that it does change.
	   The bored, contemptuous, irritated assumption seems to be that
while, say, <b_enamex type="PERSON">Bill Clinton<e_enamex> is transitory, <b_enamex type="PERSON">Siegel<e_enamex> or Ms. <b_enamex type="PERSON">Wertheimer<e_enamex> _
and, by implication, the faithful <b_enamex type="ORGANIZATION">NPR<e_enamex> listener _ are permanent.
This is often communicated on ``All Things Considered'' before and
after any particular information or opinion. The <b_enamex type="ORGANIZATION">White House<e_enamex>
correspondent, <b_enamex type="PERSON">Mara Liasson<e_enamex>, or the legal affairs correspondent,
<b_enamex type="PERSON">Nina Totenberg<e_enamex>, may offer detailed, nuanced and, most importantly,
involved reports. But with <b_enamex type="PERSON">Siegel<e_enamex> or Ms. <b_enamex type="PERSON">Wertheimer<e_enamex> sweeping up, it
is all translated into attitude. One can get the feeling that the
bumper stickers on their cars would read ``I'd Rather Be Attending
an Embassy Reception,'' if the very idea of a bumper sticker wasn't
impossibly vulgar.
	   Ms. <b_enamex type="PERSON">Wertheimer<e_enamex> and the afternoon news reader, Ms. <b_enamex type="PERSON">Taylor<e_enamex>, share
the remarkable ability to look down their noses while talking
through them. Speaking from <b_enamex type="ORGANIZATION">NPR<e_enamex>'s <b_enamex type="LOCATION">Washington<e_enamex> headquarters, they can
make the rest of the country, even <b_enamex type="LOCATION">New York<e_enamex> _ so ethnic, so exotic
with local custom _ seem like a tired but mildly diverting play
staged for their laconic amusement.
	   <b_enamex type="PERSON">Siegel<e_enamex> works differently. His speech is clipped, with words
suddenly hurried or inexplicably dragged out, mumbled or swallowed:
aural hooks, the equivalent of serifs on a type face, except that
serifs don't call attention to themselves. There's a lot of <b_enamex type="PERSON">Dick
Cavett<e_enamex> in <b_enamex type="PERSON">Siegel<e_enamex>'s interviewing style. He's terribly earnest, while
at the same time suggesting he's not very interested. He's like a
well-prepared lawyer who seems never to ask a question to which he
doesn't already know the answer.
	   It's that denial of the chance of surprise that is so deadening.
There is nothing new under the sun, least of all anything we might
want to raise our voices over. Perhaps the most powerful moment of
news reporting I ever experienced took place in <b_timex type="DATE">1978<e_timex>, on the night
the news of the mass suicides and murders at <b_enamex type="LOCATION">Jonestown<e_enamex> began to
break. On television, on the evening network news show, the anchor
summed up the facts as they were known, looked at the papers on his
desk and, lowering his voice, spoke of ``this awful story.''
	   He broke the code of news broadcasting, the unspoken message
that all things under the sun take place within the limits of what
is already known, and it was shocking. That code is a lot of what
<b_enamex type="ORGANIZATION">NPR<e_enamex> is selling.
	   The antiphon to the cool school of <b_enamex type="ORGANIZATION">NPR<e_enamex> broadcasting is provided
by <b_enamex type="PERSON">Terry Gross<e_enamex> of ``Fresh Air,'' the daily <b_timex type="DURATION">one-hour<e_timex> interview and
arts program that originates from <b_enamex type="ORGANIZATION" status="opt">public radio<e_enamex> station <b_enamex type="ORGANIZATION">WHYY<e_enamex> in
<b_enamex type="LOCATION">Philadelphia<e_enamex>. Ms. <b_enamex type="PERSON">Gross<e_enamex>, <b_numex type="MEASURE">47<e_numex>, is the host and principal interviewer;
speaking on the phone last week, she guessed that since the program
began more than <b_timex type="DURATION">20 years<e_timex> ago, she has done <b_numex type="CARDINAL">9,000<e_numex> or <b_numex type="CARDINAL">10,000<e_numex>
interviews. Yet each one seems to begin a tale from the beginning.
Though the show is conducted mostly by remote hookups, the
atmosphere is invariably intimate and open. The feeling is that
anything can happen; anything might be said.
	   Ms. <b_enamex type="PERSON">Gross<e_enamex> is characteristically eager, but not naive. You hear
enthusiasm in her voice, but also experience and skepticism. More
often than not, people are on her show to sell their books, but she
is doing the show to bring them, and what they are writing about,
to life. She knows how to let people talk; she's not afraid of
silences, or above a noisy ``Blech!'' when she's repulsed by a
creepy story. She's dogged; she can give the impression that she
will wait around <b_timex type="DURATION" status="opt">all day<e_timex> if that's what it takes to get someone to
stop faking.
	   In a recent interview with <b_enamex type="PERSON">Eddie Miller<e_enamex>, author of the
unreadably preening true-crime novel ``Another Day in Paradise'' _
this is all true, one is supposed to believe, they just had to
change the names _ <b_enamex type="PERSON">Miller<e_enamex> answered every other question with some
variation of ``That's in the book.'' He spoke in a slow, gravelly,
leering voice; as an armed robber, he said, he had lived ``the
American dream in person.''
	   He met Ms. <b_enamex type="PERSON">Gross<e_enamex>' questions with heavy sighs, as if to say:
``Where's this chick been all her life? Man, do I have to explain
everything? It's in the book!'' Asked about how he felt while
committing robbery, <b_enamex type="PERSON">Miller<e_enamex> began to laugh, with a smug insistence
that he knew things Ms. <b_enamex type="PERSON">Gross<e_enamex> would never know. ``What's so
funny?'' Ms. <b_enamex type="PERSON">Gross<e_enamex> asked in her high, pleasant, disarming voice _ a
voice that in an instant had turned into a knife _ and finally
<b_enamex type="PERSON">Miller<e_enamex> started talking.
	   ``Fresh Air'' started as a local show in <b_enamex type="LOCATION">Philadelphia<e_enamex> in <b_timex type="DATE">1975<e_timex>,
Ms. <b_enamex type="PERSON">Gross<e_enamex> explained when we talked last week. It went national in
<b_timex type="DATE">1985<e_timex>, daily in <b_timex type="DATE">1987<e_timex>. Just like ``American Bandstand,'' I said,
thinking of <b_enamex type="PERSON">Dick Clark<e_enamex>'s <b_timex type="DATE">1950s<e_timex> rock `n' roll dance party, perhaps
<b_enamex type="LOCATION">Philadelphia<e_enamex>'s other signal contribution to American broadcasting.
``Yeah!'' Ms. <b_enamex type="PERSON">Gross<e_enamex> said.
</TEXT>
</BODY>
</DOC>
<DOC>
<DOCNO> NYT19980315.0064 </DOCNO>
<DOCTYPE> NEWS STORY </DOCTYPE>
<DATE_TIME> 03/15/1998 16:51:00 </DATE_TIME>
<BODY>
<HEADLINE>
IN CYBERSPACE, IS THERE LAW WHERE THERE IS NO LAND?
</HEADLINE>
<TEXT>
	   Cyberspace, only yesterday the proud Wild West of the
information age, is rapidly being settled and tamed. The best
evidence is a sudden _ and some might say alarming _ infestation by
a new species, the cyberlawyers.
	   They seem to be everywhere.
	   Last month, at the Computers, Freedom and Privacy conference _
an annual gathering once dominated by hackers and security agents _
they clogged panels with subjects like ``Government jurisdiction
over cyberspace transactions.''
	   Each week, they post <b_numex type="CARDINAL">hundreds<e_numex> of messages to their own
``Cyberia'' e-mail list, pondering matters like ``Usenet Death
Penalty _ Legal?'' And a pack of cyberlawyers are petitioning the
<b_enamex type="ORGANIZATION">White House<e_enamex> for access to its planned conference on Internet
privacy.
	   The nation's top law schools are vying to dominate an area of
jurisprudence called cyberlaw, while law firms promoting such
practices are becoming as ubiquitous as spam e-mail. And court
dockets are swelling with digital-age disputes of ``first
impression.''
	   Whatever happened to the electronic frontier? Perhaps, as they
like to say in the legal trade, res ipsa loquitur _ the thing
speaks for itself.
	   The Internet has changed from a playground for like-minded
libertarians to a workplace and social space for <b_numex type="CARDINAL">millions<e_numex>. The
latest settlers have little interest in the cyberstate of nature or
the utopian manifestoes of pioneers, like <b_enamex type="PERSON">John Perry Barlow<e_enamex>'s
oft-cited ``A Declaration of the Independence of Cyberspace,''
which defied any state's assertion of control over the Internet.
	   That is where the lawyers come in.
	   ``It's like when you start a colony,'' said <b_enamex type="PERSON">Mike Godwin<e_enamex>, chief
counsel for the <b_enamex type="ORGANIZATION">Electronic Frontier Foundation<e_enamex>, an advocacy group
that only a <b_timex type="DURATION">few years<e_timex> ago was practically alone in the field. ``The
first thing you do is you find out where the water is. The next
thing you do is form couples, start families. The notion of having
law, which is a way to order social interactions, only happens
after you have a lot of social interactions such that they become
problematic.''
	   But in a legal system that reveres precedent and relies on
analogy, even defining the nature of an Internet-related dispute
can be a source of contention.
	   Consider just a few of the pending cases and the questions they
raise across a range of legal doctrines:
	   _ The <b_enamex type="LOCATION">U.S.<e_enamex> government sues <b_enamex type="ORGANIZATION">Microsoft Corp.<e_enamex>, charging it with
antitrust violations. How is monopoly measured in an information
age?
	   _ A <b_enamex type="ORGANIZATION">White House<e_enamex> aide, <b_enamex type="PERSON">Sidney Blumenthal<e_enamex>, sues an Internet gossip
columnist, <b_enamex type="PERSON">Matt Drudge<e_enamex>, for libel. What is the burden of proof and
what are the remedies for libel on the Internet, where everyone can
be a publisher? Moreover, can <b_enamex type="PERSON">Drudge<e_enamex> be sued in the <b_enamex type="LOCATION">District of
Columbia<e_enamex> for an item that he posted on his World Wide Web site in
<b_enamex type="LOCATION">Los Angeles<e_enamex>?
	   _ <b_enamex type="ORGANIZATION">America Online<e_enamex> sues for an injunction against multiple
distributors of junk e-mail. Is such ``spam'' mail a violation of
privacy? Would attempts to block it violate the First Amendment?
	   _ A mathematics professor is suing the <b_enamex type="LOCATION">U.S.<e_enamex> government for
denying his application to send an encryption program over the
Internet. Should the government be able to prevent him on national
security grounds, or would that violate his free-speech rights?
	   <b_enamex type="PERSON">Cindy Cohn<e_enamex>, the lawyer representing the math professor, said it
was in part the lure of the unknown that made cyberspace law so
appealing.
	   ``It's a chance to think about first-level questions,'' said Ms.
<b_enamex type="PERSON">Cohn<e_enamex>, a partner in the <b_enamex type="ORGANIZATION">McGlashan &AMP; Sarrail<e_enamex> firm in <b_enamex type="LOCATION">San Mateo<e_enamex>,
<b_enamex type="LOCATION">Calif.<e_enamex> ``With <b_numex type="CARDINAL">nine-tenths<e_numex> of my other cases, the same issue has
already been decided. With this, you can say maybe you need to
think in a new way about it.''
	   Ms. <b_enamex type="PERSON">Cohn<e_enamex> is scheduled to testify <b_timex type="DATE">Tuesday<e_timex> before a <b_enamex type="ORGANIZATION">Senate
Judiciary Committee subcommittee<e_enamex> on proposed encryption
legislation.
	   Not everyone is as sanguine about the prospect of a clean legal
slate.
	   What is at stake, legal experts say, is whether the values that
evolved over <b_timex type="DURATION">two centuries<e_timex> of case law will apply in cyberspace _
and what those decisions will teach us about the law in real space.
	   ``There is anxiety, yes,'' said Judge <b_enamex type="PERSON">Stewart Dalzell<e_enamex>, a federal
circuit court judge. Alluding to his role last year in overturning
the Communications Decency Act, a landmark decision for cyberspace
law that was later upheld by the <b_enamex type="ORGANIZATION">Supreme Court<e_enamex>, <b_enamex type="PERSON">Dalzell<e_enamex> recalled:
``I know going in that when I started to hear the testimony I went,
`Oh my God! Oh my God! I have to learn about packet switching?' And
had we gone down the wrong path, it could have done immense
mischief to the medium.''
<ANNOTATION>
	   (STORY CAN END HERE. OPTIONAL MATERIAL FOLLOWS)
</ANNOTATION>
	   As judges and lawyers search for metaphors, elite law schools
are scurrying to stake their claims as the center of legal theory
that will make sense of it all _ and to lure cutting-edge law
professors and attract students eager to enter what looks to be a
lucrative new field of practice.
	   Earlier this month, <b_enamex type="ORGANIZATION">Harvard Law School<e_enamex> said it had received a
<b_numex type="MONEY">$5.4 million<e_numex> donation from the estate of <b_enamex type="PERSON">Jack N. Berkman<e_enamex>, an
alumnus, and his wife, <b_enamex type="PERSON">Lillian R. Berkman<e_enamex> to support its <b_enamex type="ORGANIZATION">Center for
Internet and Society<e_enamex>, which was established last year and is
overseen by <b_enamex type="PERSON">Jonathan Zittrain<e_enamex>, the executive director.
	   Prof. <b_enamex type="PERSON">Charles Nesson<e_enamex>, the center's director, said the money
would be used in part to experiment with opening up the gates of
the august institution to the general public. More than <b_numex type="CARDINAL">1,000<e_numex>
people have enrolled in Privacy in Cyberspace, the center's first
free no-credit course offered over the Internet.
	   The gift will also endow a professorship. First to be named to
the Berkman chair was <b_enamex type="PERSON">Lawrence Lessig<e_enamex>, whose appointment by a
federal district judge as special master in the government's
antitrust case against <b_enamex type="ORGANIZATION">Microsoft<e_enamex> did much to raise the profile of
the nascent field of cyberspace legal theory. (<b_enamex type="PERSON">Lessig<e_enamex>'s
investigation has been suspended pending an appeals court decision
on the propriety of his appointment.)
	   Not to be outdone, <b_enamex type="ORGANIZATION">Harvard<e_enamex>'s longtime rival, <b_enamex type="ORGANIZATION">Yale Law School<e_enamex>,
made <b_enamex type="PERSON">Lessig<e_enamex> a standing job offer as part of its effort to
jump-start its Information Society Project. The school has offered
visiting professorships to <b_numex type="CARDINAL">two<e_numex> intellectual property experts: <b_enamex type="PERSON">James
Boyle<e_enamex> from <b_enamex type="ORGANIZATION">American University<e_enamex> and <b_enamex type="PERSON">Robert Mergess<e_enamex>, the co-director
of the <b_enamex type="ORGANIZATION">Berkeley Center for Law and Technology<e_enamex> at the <b_enamex type="ORGANIZATION">University of
California<e_enamex>.
	   ``<b_enamex type="ORGANIZATION">Yale<e_enamex> is going to be the place to be for cyberlaw,'' said <b_enamex type="PERSON">Jack
Balkin<e_enamex>, director of the school's program. ``What happened at <b_enamex type="ORGANIZATION">Yale<e_enamex>
is, nobody came to us and said, `Here's some money. Go found a
technology center.' This was something we identified as a
priority.''
	   <b_enamex type="ORGANIZATION">Yale<e_enamex>'s stance is making other schools nervous. ``The competition
has definitely heated up,'' said <b_enamex type="PERSON">Pam Samuelson<e_enamex>, who helped found
<b_enamex type="ORGANIZATION">Berkeley<e_enamex>'s center <b_timex type="DURATION">two years<e_timex> ago and hopes that <b_enamex type="PERSON">Mergess<e_enamex> will stay
put.
	   Ms. <b_enamex type="PERSON">Samuelson<e_enamex>, a leading critic of the <b_enamex type="PERSON">Clinton<e_enamex> administration's
proposal to adapt copyright law to cyberspace, said <b_enamex type="ORGANIZATION">Berkeley<e_enamex>'s
advantage was being in the midst of the industry that is creating
so many of today's legal challenges.
	   Ms. <b_enamex type="PERSON">Samuelson<e_enamex> said that centers like <b_enamex type="ORGANIZATION">Berkeley<e_enamex>'s would teach
different skills and values than the traditional law school
curriculum has taught.
	   ``Rather than trying to develop fixed sets of black-letter law
rules that you can memorize and then apply, this requires that
students learn to be supple and adaptable,'' Ms. <b_enamex type="PERSON">Samuelson<e_enamex> said.
	   Although by most accounts <b_enamex type="ORGANIZATION">Harvard<e_enamex>, <b_enamex type="ORGANIZATION">Yale<e_enamex> and <b_enamex type="ORGANIZATION">Berkeley<e_enamex> have the
strongest offerings, expertise in the field has spread. <b_enamex type="PERSON">Michael
Froomkin<e_enamex> at the <b_enamex type="ORGANIZATION">University of Miami<e_enamex> has published several articles
on law and cryptography, for example; <b_enamex type="PERSON">Dan Burk<e_enamex> at <b_enamex type="ORGANIZATION">Seton Hall
University<e_enamex> is an expert on jurisdictional issues in cyberspace.
	   <b_enamex type="PERSON">David Post<e_enamex>, co-founder of the <b_enamex type="ORGANIZATION">Cyberspace Law Institute<e_enamex> and now a
professor at <b_enamex type="ORGANIZATION">Temple University Law School<e_enamex>, is at the center of an
active debate among lawyers about whether the emergence of
cyberspace requires a whole new legal model.
	   ``There is a division between the incrementalists and the
radicals,'' <b_enamex type="PERSON">Post<e_enamex> said. ``To me it makes more sense to think of this
as a separate domain of interaction that's going to have its own
rules.''
	   The stress that the new technology places on existing law has
provoked some scholars to argue that cyberspace needs laws of its
own in areas like copyright and privacy. Others wonder whether at a
time when private companies wield power over online behavior by
computer code, constitutional principles should regulate private as
well as state action.
	   But many legal scholars scoff at the notion that cyberspace
presents the need for a new discipline. Among them is Judge <b_enamex type="PERSON">Frank
Easterbrook<e_enamex> of the <b_enamex type="ORGANIZATION">7th U.S. Circuit Court of Appeals<e_enamex> and a
professor at the <b_enamex type="ORGANIZATION">University of Chicago<e_enamex>. In an article for the
<b_enamex type="ORGANIZATION">University of Chicago Law Review<e_enamex> titled ``Cyberspace and the Law of
the Horse,'' <b_enamex type="PERSON">Easterbrook<e_enamex> warned of ``multidisciplinary
dilettantism.'' A law of cyberspace makes about as much sense as a
law of horses, he said.
	   Still, even critics agree that the emergence of cyberspace is
forcing the deepest and most critical consideration in years of law
in general.
	   ``Maybe dividing the world up into real space and cyberspace is
artificial,'' said <b_enamex type="PERSON">Brian Dally<e_enamex>, <b_numex type="MEASURE">26<e_numex>, a student in <b_enamex type="PERSON">Lessig<e_enamex>'s
cyberspace law class. ``What really came rushing to the fore for me
in this class is that this should give us pause to examine some of
our basic understandings about the purpose of government and the
purpose of law.''
</TEXT>
</BODY>
</DOC>
<DOC>
<DOCNO> NYT19980315.0067 </DOCNO>
<DOCTYPE> NEWS STORY </DOCTYPE>
<DATE_TIME> 03/15/1998 17:10:00 </DATE_TIME>
<BODY>
<HEADLINE>
THE SITES: TUNING INTO MUSIC ON THE WEB
</HEADLINE>
<TEXT>
	   Once upon a time, before the Internet had pictures and was all
the rage, <b_enamex type="PERSON">Quincy Jones<e_enamex>, the music impresario, sat with <b_enamex type="PERSON">Bill Gates<e_enamex>,
the computer magnate, at a technology conference, talking about the
future. The year was <b_timex type="DATE">1992<e_timex>, and the conversation was a melding of
the <b_numex type="CARDINAL">two<e_numex> titans' respective passions: the preservation of musical
cultures and the nascent online universe that would become
cyberspace.
	   It took <b_timex type="DURATION">six years<e_timex> to realize a complete fusion of the vision
that emerged that night. On <b_timex type="DATE">Wednesday<e_timex>, <b_enamex type="PERSON">Jones<e_enamex> will introduce <b_enamex type="ORGANIZATION">Qradio<e_enamex>,
a venture that marries the Internet to his advocacy of the rich,
varied and largely unknown music of developing nations. ``Web
radio,'' a technology that transmits audio programming to
Internet-connected personal computers, offers the potential to
reach a wide audience at a fraction of the cost of traditional
broadcasting.
	   ``It's a different sort of landscape, a <b_timex type="DATE">21st-century<e_timex> language,''
<b_enamex type="PERSON">Jones<e_enamex> said of the Internet.
	   But while his site is devoted to music, unlike broadcast radio,
it is not limited to sound. Rather, it is a multimedia product of
which actual radio is only a part.
	   Though it is being formally introduced this week, <b_enamex type="ORGANIZATION">Qradio<e_enamex> began
in <b_timex type="DATE">February<e_timex> with an initial focus on <b_enamex type="LOCATION">South Africa<e_enamex>. It offers a data
base of South African musicians, including biographies,
discographies and sample clips, a multimedia history of musical
evolution in the region and continuous feeds of <b_numex type="CARDINAL">three<e_numex> of <b_enamex type="ORGANIZATION">South
African Broadcasting Corp.<e_enamex>'s <b_numex type="CARDINAL">16<e_numex> radio stations.
	   <b_enamex type="ORGANIZATION">Qradio<e_enamex>, which was started with <b_numex type="MONEY">$5 million<e_numex> in private
investments, plans to sell advertising, but it hopes to derive
revenue from the sale of CDs and audio tapes marketed by means of
online music samples.
	   <b_enamex type="PERSON">Jones<e_enamex> and his partners in the venture say they hope eventually
to broaden the site to embrace music from other parts of <b_enamex type="LOCATION">Africa<e_enamex>, as
well as from the <b_enamex type="LOCATION">Americas<e_enamex>. Ultimately, it could serve as a medium
for breeding new species of music, but for now, <b_enamex type="PERSON">Jones<e_enamex> suggests that
the goal is to build bridges between cultures and technological
classes.
	   ``Here we are, entering the next century,'' he said. ``That
number with <b_numex type="CARDINAL">three<e_numex> zeroes behind it is very heavy. It's ironic _
here we are dealing with the Internet and some of these people in
<b_enamex type="LOCATION">South Africa<e_enamex> don't have electricity.''
	   <b_enamex type="PERSON">Adam Clayton Powell III<e_enamex>, a lifelong friend and former employee
of <b_enamex type="PERSON">Jones<e_enamex>, said the seed that germinated into <b_enamex type="ORGANIZATION">Qradio<e_enamex> was a <b_timex type="DATE">1991<e_timex> trip
that the <b_numex type="CARDINAL">two<e_numex> of them took to <b_enamex type="LOCATION">South Africa<e_enamex> just as that nation's
legacy of apartheid was collapsing. At the time, <b_enamex type="PERSON">Powell<e_enamex> said, the
<b_numex type="CARDINAL">two<e_numex> men discussed the feasibility of a cable channel to promote the
various indigenous musical cultures of the region, but the costs
for such a venture were prohibitive.
	   Even then, <b_enamex type="PERSON">Powell<e_enamex> said, the notion of using online technologies
as a delivery mechanism piqued <b_enamex type="PERSON">Jones<e_enamex>' interest. ``We have got to
come back,'' to <b_enamex type="LOCATION">South Africa<e_enamex>, <b_enamex type="PERSON">Powell<e_enamex>, now the vice president for
technology and programs of the <b_enamex type="ORGANIZATION">Freedom Forum<e_enamex> in <b_enamex type="LOCATION">Arlington<e_enamex>, <b_enamex type="LOCATION">Va.<e_enamex>,
recalls his friend saying.
	   It would take the development of the World Wide Web and the
technology known as streaming audio before the possibility of
online radio transmission would be realized. But the technology
alone cannot ensure that anyone will be listening, and industry
analysts question whether a medium born in the <b_timex type="DATE">1920s<e_timex> will ever find
an acceptable fit in the medium of the <b_timex type="DATE">millennium<e_timex>.
	   ``To put radio on the Internet is not what it's all about,''
said <b_enamex type="PERSON">Alan Brody<e_enamex>, an independent media analyst in <b_enamex type="LOCATION">Scarsdale<e_enamex>, <b_enamex type="LOCATION">N.Y.<e_enamex>
``It's like using TV to broadcast shipbuilding information. It's a
cute idea, but that's not where the future is. The future is in
personalizing what we hear on the radio.''
	   <b_enamex type="PERSON">Powell<e_enamex> disagreed. Now that virtually all new personal computers
are equipped with audio capability, more people than ever will use
the Web as a platform for radio-like programming.
	   ``Radio is the most ubiquitous medium we have,'' <b_enamex type="PERSON">Powell<e_enamex> said.
``It's a form familiar to us as a species. We have a long tradition
of oral history, and this fits that tradition.''
<ANNOTATION>
	   (STORY CAN END HERE. OPTIONAL MATERIAL FOLLOWS)
</ANNOTATION>
	   What is more, <b_enamex type="ORGANIZATION">Qradio<e_enamex> starts at a time when music is among the
few real success stories in the online marketing efforts lumped
together under the term electronic commerce. <b_enamex type="ORGANIZATION">At-Plan<e_enamex>, a marketing
research firm, says its latest data show that CDs and tapes are the
fifth-most-popular product sold on the Web, bought by <b_numex type="CARDINAL">1.3 million<e_numex>
people in the <b_timex type="DATE">last quarter of 1997<e_timex> and that more than <b_numex type="CARDINAL">12 million<e_numex>
people visit music-oriented Web sites in a typical <b_timex type="DURATION">30-day<e_timex> period.
	   The question with <b_enamex type="ORGANIZATION">Qradio<e_enamex>, as it is with many new online
ventures, is whether enough visitors will frequent and shop at a
niche Web site to make it financially viable. Distinguishing
oneself in new media, experts in online broadcasting say, demands a
delicate balancing act _ a product that is narrowly focused enough
that an audience cannot get it elsewhere yet of broad enough appeal
to support advertising and direct online sales.
	   Many other players in the medium are embracing a more horizontal
strategy.
	   The print publishing group <b_enamex type="ORGANIZATION">Imagine Media<e_enamex> of <b_enamex type="LOCATION">Brisbane<e_enamex>, <b_enamex type="LOCATION">Calif.<e_enamex>,
which specializes in computer-oriented magazines, last week started
a new Internet service called Imagine Radio, a group of <b_numex type="CARDINAL">20<e_numex> original
radio stations created just for the Web. <b_enamex type="ORGANIZATION">Audio Net<e_enamex>, a <b_enamex type="LOCATION">Dallas<e_enamex>-based
company that has been in the streaming audio business for <b_timex type="DURATION">two and a
half years<e_timex>, offers <b_numex type="CARDINAL">260<e_numex> radio and television stations from around
the country, plus some <b_numex type="CARDINAL">400<e_numex> special events each day.
	   ``When you're in your car you've got <b_numex type="CARDINAL">30<e_numex> radio stations,'' said
<b_enamex type="ORGANIZATION">Audio Net<e_enamex>'s president, <b_enamex type="PERSON">Mark Cuban<e_enamex>. ``On TV, there are <b_numex type="CARDINAL">20<e_numex> to <b_numex type="CARDINAL">100<e_numex>
stations. On the Net, you have <b_numex type="CARDINAL">millions<e_numex>. That's why the economics
of the stand-alone radio doesn't work. It's expensive to be
successful. It's really easy to get in the door. It's difficult to
make money.''
	   <b_enamex type="PERSON">Vern Fotheringham<e_enamex>, a founding partner of <b_enamex type="ORGANIZATION">Qradio<e_enamex>, said: ``The
more people who denigrate Internet opportunities, the better I like
it. It means there are fewer people out there trying to build
fallow content. We're about marrying the capture of content while
everyone is looking at it as a substandard, living today but
prospering in the future.
	   But after <b_timex type="DURATION">50 years<e_timex> in the music business, <b_enamex type="PERSON">Jones<e_enamex> says that what
is most important is encouraging the development of a medium that
speaks to people across cultures and economic levels.
	   ``It's very important that the urban voice gets in there,'' he
said. ``You know _ a PC in every pot.''
	   WHERE TO GO:
	   <b_enamex type="ORGANIZATION">QRADIO<e_enamex>
	   http://www.qradio.net
	   IMAGINE RADIO
	   http://www.imagineradio.com
	   <b_enamex type="ORGANIZATION">AUDIONET<e_enamex>
	   http://www.audionet.com
</TEXT>
</BODY>
</DOC>
<DOC>
<DOCNO> NYT19980315.0069 </DOCNO>
<DOCTYPE> NEWS STORY </DOCTYPE>
<DATE_TIME> 03/15/1998 17:26:00 </DATE_TIME>
<BODY>
<HEADLINE>
ANALYSIS: TAXING INTERNET SALES _ GOVERNORS VS. TAX FREEDOM ACT
</HEADLINE>
<TEXT>
	   Buoyed by <b_enamex type="ORGANIZATION">White House<e_enamex> support and facing only tepid opposition
from the nation's governors, <b_enamex type="LOCATION">Silicon Valley<e_enamex> has state and local tax
collectors on the defensive: <b_enamex type="ORGANIZATION">Congress<e_enamex> is on the verge of passing
legislation that would effectively bar sales taxes on Internet
transactions until <b_timex type="DATE">2004<e_timex>.
	   ``The outcome is not in doubt,'' said Rep. <b_enamex type="PERSON">Christopher Cox<e_enamex>,
R-<b_enamex type="LOCATION">Calif.<e_enamex>, who is sponsoring the Internet Tax Freedom Act in the
<b_enamex type="ORGANIZATION">House<e_enamex>.
	   The bill responds to fears that a thicket of conflicting taxes
will choke off the growth of Internet commerce, in particular
inhibiting its use by small businesses that could not cope with the
burden of the paperwork. But some analysts _ and many governors _
worry that a federal moratorium would set a precedent that would
permanently deprive state and local governments of a huge potential
revenue source.
	   ``If we don't tax Internet commerce now, it will never be
taxed,'' said <b_enamex type="PERSON">William Gale<e_enamex>, an economist at the <b_enamex type="ORGANIZATION">Brookings
Institution<e_enamex>, the research group in <b_enamex type="LOCATION">Washington<e_enamex>.
	   With a few exceptions, states have made little effort to tax
Internet service providers like <b_enamex type="ORGANIZATION">America Online<e_enamex>. Retail sales
through the Internet are, in theory, covered by ``use'' taxes that
require consumers to pay taxes in their home states no matter where
they buy. But under <b_enamex type="ORGANIZATION">Supreme Court<e_enamex> rulings, <b_numex type="CARDINAL">one<e_numex> state cannot compel
a merchant in another to collect use taxes unless the merchant has
a substantial business presence in the state where the buyer lives.
	   That has not prevented businesses from imagining a day when
states try to tax Internet use. In a survey of executives from
large retailers and media corporations conducted by <b_enamex type="ORGANIZATION">KPMG Peat
Marwick<e_enamex> in <b_timex type="DATE">1996<e_timex>, <b_numex type="CARDINAL">half<e_numex> said that tax ambiguities had already
tempered plans for Internet commerce. And Sen. <b_enamex type="PERSON">Ron Wyden<e_enamex>, D-<b_enamex type="LOCATION">Ore.<e_enamex>,
along with <b_enamex type="PERSON">Cox<e_enamex>, has been leading the charge for a legislative
remedy.
	   The <b_enamex type="ORGANIZATION">Senate<e_enamex> and <b_enamex type="ORGANIZATION">House<e_enamex> bills that have emerged from committee
would bar taxes on monthly Internet access charges until <b_timex type="DATE">January
2002<e_timex>. State and local governments would remain free to tax
purchases made on the Internet, but the Cox-Wyden bill would bar
attempts to go beyond the limits on out-of-state collection set by
the <b_enamex type="ORGANIZATION">Supreme Court<e_enamex>.
	   ``The states would be no less able to collect sales taxes than
they are today,'' <b_enamex type="PERSON">Cox<e_enamex> said.
	   Many tax specialists sympathize with efforts to avoid
discriminatory taxes on Internet service providers. ``States are
notorious for their inconsistencies, taxing services on a
hit-or-miss basis,'' said <b_enamex type="PERSON">Joel Slemrod<e_enamex>, an economist at the
<b_enamex type="ORGANIZATION">University of Michigan<e_enamex>'s <b_enamex type="ORGANIZATION" status="opt">business school<e_enamex>.
	   By the same token, many sympathize with the problems that
businesses _ particularly ``mom and pop'' stores expanding onto the
Internet _ potentially face in selling to customers in <b_numex type="CARDINAL">thousands<e_numex> of
different tax districts.
	   But they are wary of precedents that effectively put Internet
sales out of bounds to state and local tax collectors. ``Internet
commerce is small today,'' <b_enamex type="PERSON">Gale<e_enamex> said, ``but what happens to local
tax bases when the Net becomes a major presence in retailing?''
	   With flat-out opposition to the Internet legislation no longer a
realistic option now that the president and the governors of <b_enamex type="LOCATION">New
York<e_enamex>, <b_enamex type="LOCATION">California<e_enamex> and <b_enamex type="LOCATION">Virginia<e_enamex> have taken a stance in favor of the
Cox-Wyden bill, the <b_enamex type="ORGANIZATION">National Governors' Association<e_enamex> is pressing an
alternative.
	   Led by Gov. <b_enamex type="PERSON">Michael Leavitt<e_enamex> of <b_enamex type="LOCATION">Utah<e_enamex> and Gov. <b_enamex type="PERSON">Roy Romer<e_enamex> of
<b_enamex type="LOCATION">Colorado<e_enamex>, the association is willing to accept a permanent
prohibition on taxing access to the Internet. But in return, it
wants <b_enamex type="LOCATION">Washington<e_enamex> to give individual states a powerful incentive to
create a single consolidated tax on out-of-state purchases, both
electronic and mail order.
	   The association's proposal would override the <b_enamex type="ORGANIZATION">Supreme Court<e_enamex>
ruling by requiring large vendors to collect use taxes on behalf of
states as long as the states conformed to a single tax structure.
``Now is the time for a system that creates a level playing filed
for all sellers,'' <b_enamex type="PERSON">Leavitt<e_enamex> said.
	   But the governors' approach faces strong opposition. Although
their bill would meet the primary objective of Internet service
providers, it would also open Internet commerce to taxation. ``We
see this as a new tax that would generate <b_numex type="MONEY">$16 billion<e_numex> in revenue by
the year <b_timex type="DATE">2000<e_timex>,'' <b_enamex type="PERSON">Wyden<e_enamex> said.
	   Probably more important, it would tie Internet tax legislation
to the fate of the states' attempts to force mail-order vendors to
collect taxes from out-of-state customers.
	   And because there is hardly a ground swell for such a move in
<b_enamex type="ORGANIZATION">Congress<e_enamex>, there might be no legislation at all _ a result that
would not unduly disturb most opponents of the Internet Tax Freedom
Act.
	   The governors, it is generally conceded, are playing a weak
political hand. <b_enamex type="ORGANIZATION">House<e_enamex> leaders are promising a floor vote on the
Cox-Wyden bill this month. And last week, <b_enamex type="ORGANIZATION">Senate<e_enamex> Majority Leaser
<b_enamex type="PERSON">Trent Lott<e_enamex>, R-<b_enamex type="LOCATION">Miss.<e_enamex>, predicted that the bill would come to a vote
in the <b_enamex type="ORGANIZATION">Senate<e_enamex> by <b_timex type="DATE">May<e_timex>.
	   The real question, then, is whether the governors can salvage a
compromise with the bill's congressional sponsors. ``I'm persuaded
there is still a lot of common ground here,'' <b_enamex type="PERSON">Leavitt<e_enamex> said.
</TEXT>
</BODY>
</DOC>
<DOC>
<DOCNO> NYT19980315.0070 </DOCNO>
<DOCTYPE> NEWS STORY </DOCTYPE>
<DATE_TIME> 03/15/1998 17:27:00 </DATE_TIME>
<BODY>
<HEADLINE>
A SEARCH ENGINE THAT CHARGES FOR TOP BILLING
</HEADLINE>
<TEXT>
	   In the world of Internet search services, finding just the right
business model is proving as elusive as finding an entirely
relevant list of search results. But the effort can be seen on the
Web sites of all the industry's most familiar names.
	   <b_enamex type="ORGANIZATION">Yahoo<e_enamex>, the biggest of the <b_numex type="CARDINAL">dozens<e_numex> of sites devoted to navigating
the Web, is looking more like a commercial online service every
day, with ``channels'' that organize information into categories.
Likewise, <b_enamex type="ORGANIZATION">Excite<e_enamex> and <b_enamex type="ORGANIZATION">Lycos<e_enamex> have also added chat rooms, electronic
mail and a wide range of original content like news, financial
services, shopping and local entertainment guides.
	   And earlier this month, <b_enamex type="ORGANIZATION">Infoseek<e_enamex> announced its entry into
electronic commerce, adding travel-booking and home-buying
services.
	   ``The function of searching has become a commodity,'' said <b_enamex type="PERSON">Alan
Braverman<e_enamex>, Internet analyst at <b_enamex type="ORGANIZATION">Credit Suisse First Boston<e_enamex>. ``So
search engine companies are making a transition into Internet media
companies.''
	   And as they do, consumers are changing the way they use them.
Search engines were originally developed to help Internet users
find what they were looking for among the <b_numex type="CARDINAL">millions<e_numex> of pages on the
World Wide Web, and as such they were judged solely by how well _
and how quickly _ they matched key words to results. Today,
however, searching is only <b_numex type="CARDINAL">one<e_numex> small reason people go to sites like
<b_enamex type="ORGANIZATION">Yahoo<e_enamex>, <b_enamex type="ORGANIZATION">Lycos<e_enamex>, <b_enamex type="ORGANIZATION">Infoseek<e_enamex> and <b_enamex type="ORGANIZATION">Excite<e_enamex>.
	   On <b_enamex type="ORGANIZATION">Yahoo<e_enamex>, for example, only <b_numex type="CARDINAL">one<e_numex> out of <b_numex type="CARDINAL">three<e_numex> users goes there to
search, said <b_enamex type="PERSON">Jerry Yang<e_enamex>, co-founder of the company, which is based
in <b_enamex type="LOCATION">Santa Clara<e_enamex>, <b_enamex type="LOCATION">Calif.<e_enamex> The rest of the time, they go there to use
other <b_enamex type="ORGANIZATION">Yahoo<e_enamex> features like e-mail or chat services or <b_enamex type="ORGANIZATION">Yahoo<e_enamex> Finance,
which has become <b_numex type="CARDINAL">one<e_numex> of the most popular financial sites on the
Web. ``We certainly are becoming more online service-like,'' he
said. ``But that doesn't make our navigation service any less
important.''
	   It does, however, mean visitors to sites like <b_enamex type="ORGANIZATION">Yahoo<e_enamex> and <b_enamex type="ORGANIZATION">Excite<e_enamex>
tend to stay longer _ and potentially do more _ than if the site
offered only searching. And that has translated into more
advertising. Last year, <b_enamex type="ORGANIZATION">Yahoo<e_enamex> was the top ad-supported Web site for
the second consecutive year, generating <b_numex type="MONEY">$53.2 million<e_numex> in
advertising, according to the <b_enamex type="ORGANIZATION">Electronic Advertising and
Marketplace Report<e_enamex>. That is up <b_numex type="PERCENT">180 percent<e_numex> from <b_numex type="MONEY">$19.0 million<e_numex> in
<b_timex type="DATE">1996<e_timex>. <b_enamex type="ORGANIZATION">Excite<e_enamex> ranked second of all Web sites, generating <b_numex type="MONEY">$40.2
million<e_numex> in advertising in <b_timex type="DATE">1997<e_timex>.
	   Despite a huge growth in advertising, profits have been elusive
for all but <b_enamex type="ORGANIZATION">Yahoo<e_enamex> and <b_enamex type="ORGANIZATION">Lycos<e_enamex>, which had its first profitable quarter
in <b_timex type="DATE">1997<e_timex>. <b_enamex type="ORGANIZATION">Infoseek<e_enamex> stumbled as it struggled with management changes,
and has since refocused itself toward consumers rather than
businesses. <b_enamex type="ORGANIZATION">Excite<e_enamex> lost money last year, though analysts appear
bullish on its prospects.
	   But while <b_enamex type="ORGANIZATION">Yahoo<e_enamex> and others are trying to turn their sites into
destinations in themselves, an ambitious start-up is taking an
entirely different approach. <b_enamex type="ORGANIZATION">Goto.com<e_enamex>, a spinoff of <b_enamex type="ORGANIZATION">Idealab<e_enamex>, a
self-described business incubator based in <b_enamex type="LOCATION">Los Angeles<e_enamex>, says it
will focus entirely on searching and on making money by encouraging
Web sites to pay for more prominent placement in the search
results.
	   Rather than ranking search results according to where and how
often certain key words appear, as conventional search engines do,
<b_enamex type="ORGANIZATION">Goto.com<e_enamex> actually ranks results according to how much sites are
willing to pay. The service posts the per-word pricing in an open
auction, allowing Web sites to continually bid for higher placement
on a given topic. <b_enamex type="ORGANIZATION">Goto.com<e_enamex> then requests that visitors vote on the
quality and relevance of search results _ information that is later
used to improve future searches.
	   <b_enamex type="PERSON">Bill Gross<e_enamex>, president of <b_enamex type="ORGANIZATION">Idealab<e_enamex>, said an important difference
between his approach and that of other search sites was that
<b_enamex type="ORGANIZATION">Goto.com<e_enamex> was not trying to become a media company. ``They make
money when you stay _ I make money when you leave,'' <b_enamex type="PERSON">Gross<e_enamex> said,
comparing his service to the Yellow Pages. ``We're changing the
alignment of the proposition. We really are a true search engine.''
	   By letting a combination of market forces and user feedback
determine the results of searches, <b_enamex type="ORGANIZATION">Goto.com<e_enamex> will actually provide
better results, he said. ``We're not letting a blind algorithm
decide,'' <b_enamex type="PERSON">Gross<e_enamex> said.
	   <b_enamex type="PERSON">Gross<e_enamex> said the Web had simply become too large for the
conventional search approach of matching key words. But, his
critics say, a true search engine is exactly what <b_enamex type="ORGANIZATION">Goto.com<e_enamex> is not.
Its ``pay for placement'' approach leads to skewed results, they
argue, particularly when the information being sought is not
readily available on a commercial site.
<ANNOTATION>
	   (STORY CAN END HERE. OPTIONAL MATERIAL FOLLOWS)
</ANNOTATION>
	   Yet <b_enamex type="PERSON">Gross<e_enamex> insists that nonprofit groups, universities and even
medical organizations will find it in their interests to pay for
placement. ``There's almost always a way that someone will make
money by having you come to a site,'' he said. ``Even if it's
philanthropic, it wants your attention.''
	   And if some sites do not care to pay, they will still appear in
the search result _ at the bottom of the list of paid sites. That
way, at least, users will know where to find the smallest sites,
rather than having them mixed in with larger, typically commercial
sites.
	   Perhaps <b_numex type="CARDINAL">one<e_numex> reason for industry skepticism is that ``pay for
placement'' has already been tested. <b_timex type="DURATION">Two years<e_timex> ago, <b_enamex type="ORGANIZATION">Open Text
Corp.<e_enamex>, then a search service, allowed advertisers to pay for
premium placement in search results.
	   But the practice was quickly abandoned when consumers
complained.
	   ``We got a pretty strong emotional response,'' said <b_enamex type="PERSON">Abe
Kleinfield<e_enamex>, a vice president at <b_enamex type="ORGANIZATION">Open Text<e_enamex>, based in <b_enamex type="LOCATION">Waterloo<e_enamex>,
<b_enamex type="LOCATION">Ontario<e_enamex>. ``People thought it was immoral.'' But the difference in
approach is important: <b_enamex type="ORGANIZATION">Open Text<e_enamex> did not tell users that it was
allowing companies to pay for higher placement; <b_enamex type="ORGANIZATION">Goto.com<e_enamex> is open
about the practice. But regardless of the approach, <b_enamex type="ORGANIZATION">Goto.com<e_enamex> may
not succeed simply because it is so late to the market, analysts
say.
	   ``I wouldn't be bullish on any newcomer,'' <b_enamex type="PERSON">Braverman<e_enamex> said.
Success today comes from branding and distribution, and <b_enamex type="ORGANIZATION">Yahoo<e_enamex> and a
few others are going to be tough competitors on both counts. ``The
main reason people go to <b_enamex type="ORGANIZATION">Yahoo<e_enamex> is habit,'' he said. Rather than
embrace new entries, he said, the market is likely to favor more
consolidation.
	   <b_enamex type="PERSON">Gross<e_enamex> is confident that his strategy will work. ``What these
guys have is traffic, but they don't have a good business model,''
he said.
</TEXT>
</BODY>
</DOC>
<DOC>
<DOCNO> NYT19980315.0071 </DOCNO>
<DOCTYPE> NEWS STORY </DOCTYPE>
<DATE_TIME> 03/15/1998 17:28:00 </DATE_TIME>
<BODY>
<HEADLINE>
COMING SOON: TV DOCUMENTARIES TO A BOOKSTORE NEAR YOU
</HEADLINE>
<TEXT>
	   Although the TV-watching public has long been familiar with
shows based on high-quality books, few readers have looked to
television to produce good written works.
	   <b_enamex type="PERSON">Peter Kaufman<e_enamex> is trying to change that.
	   <b_enamex type="PERSON">Kaufman<e_enamex>, president of the privately held <b_enamex type="ORGANIZATION">TV Books LLC<e_enamex>, thinks
that ``much of the finest intellectual property in the world is
being developed for television.'' And his <b_numex type="MEASURE">four-year<e_numex>-old company in
<b_enamex type="LOCATION">New York<e_enamex> publishes books based on programming made for networks
like <b_enamex type="ORGANIZATION">PBS<e_enamex>, <b_enamex type="ORGANIZATION">A&AMP;E<e_enamex> and the <b_enamex type="ORGANIZATION">History Channel<e_enamex> and written by those
intimately involved in the productions.
	   Consider ``Reagan,'' a <b_timex type="DURATION">four-and-a-half-hour<e_timex> documentary that was
broadcast recently on public television. Produced as part of the
award-winning series ``The American Experience'' by <b_enamex type="ORGANIZATION">WGBH<e_enamex> in <b_enamex type="LOCATION">Boston<e_enamex>,
the program was a result of <b_timex type="DURATION">several years<e_timex> of research and study,
but only a small percentage of the material made it into the final
documentary. ``It seemed a shame to not use everything we had
gathered, but that is what happens in this business,'' said
<b_enamex type="PERSON">Margaret Drain<e_enamex>, executive producer of ``The American Experience.''
	   Enter <b_enamex type="PERSON">Kaufman<e_enamex> and his proposal for a book based on that
documentary and on others. A resulting deal calls for <b_enamex type="ORGANIZATION">TV Books<e_enamex> to
publish <b_numex type="CARDINAL">six<e_numex> books based on programs in the series over the next <b_timex type="DURATION">two
years<e_timex>.
	   The first is ``Reagan: An American Story,'' which was written by
<b_enamex type="PERSON">Adriana Bosch<e_enamex>, a producer of the documentary, and will arrive in
bookstores in <b_timex type="DATE">April<e_timex>. ``The decision made sense on a lot of
levels,'' Ms. <b_enamex type="PERSON">Drain<e_enamex> said, ``but mainly because it is a way for us
to expand our brand.''
	   <b_enamex type="PERSON">Kaufman<e_enamex> would not disclose financial details of the deal. <b_enamex type="ORGANIZATION">TV
Books<e_enamex> has published <b_numex type="CARDINAL">11<e_numex> books so far, and <b_enamex type="PERSON">Kaufman<e_enamex> said he expected
the company to have sales of <b_numex type="MONEY">$2.5 million<e_numex> this year and <b_numex type="MONEY">$5 million<e_numex>
in <b_timex type="DATE">1999<e_timex>. <b_enamex type="PERSON">Kaufman<e_enamex> expects to publish <b_numex type="CARDINAL">25<e_numex> more titles this year.
	   Top-quality documentaries can cost more than <b_numex type="MONEY">$500,000<e_numex> for a
<b_timex type="DURATION" status="opt">single hour<e_timex>, and a majority of the interviews, archival photographs
and scholarly research never make it past the cutting room.
	   For instance, only about <b_numex type="PERCENT">3 percent<e_numex> of the taped interviews made
it on the air in the <b_enamex type="PERSON">Reagan<e_enamex> documentary. For producers and
directors, a companion book has become a natural outlet for the
unused material and another source of revenue. And because they
draw on material already being produced, these types of books can
have lower development and marketing costs.
	   ``I think it is a viable business model,'' said <b_enamex type="PERSON">Michael Coffey<e_enamex>,
managing editor of <b_enamex type="ORGANIZATION">Publishers Weekly<e_enamex>. ``Long-form TV cannot cover
all the bases, and books can serve to answer questions raised in
the show.'' <b_enamex type="PERSON">Coffey<e_enamex> ought to know: He is the editor of ``The Irish
in America,'' a book published by <b_enamex type="ORGANIZATION">Hyperion<e_enamex>, a unit of <b_enamex type="ORGANIZATION">Walt Disney
Co.<e_enamex>, that served as a companion volume to the <b_enamex type="ORGANIZATION">PBS<e_enamex> television
program of the same title, which was a collaboration between <b_enamex type="ORGANIZATION">WGBH<e_enamex>
and <b_enamex type="ORGANIZATION">Disney<e_enamex>.
<ANNOTATION>
	   (STORY CAN END HERE. OPTIONAL MATERIAL FOLLOWS)
</ANNOTATION>
	   While generations of movies and television shows have had book
tie-ins and <b_numex type="CARDINAL">hundreds<e_numex> of books have been made into feature films and
television movies, <b_enamex type="ORGANIZATION">TV Books<e_enamex> is thought to be the first publisher
that started as an independent company focusing solely on making
books from television and movies.
	   And in yet another example of the ever-expanding search for
synergy in the world of publishing, a majority stake in <b_enamex type="ORGANIZATION">TV Books<e_enamex>
was acquired in <b_timex type="DATE">December<e_timex> by <b_enamex type="ORGANIZATION">Broadway Video Inc.<e_enamex>, the film and TV
company owned by <b_enamex type="PERSON">Lorne Michaels<e_enamex>, the executive producer of
``Saturday Night Live.'' <b_enamex type="ORGANIZATION">TV Books<e_enamex> also signed a distribution deal
with <b_enamex type="ORGANIZATION">HarperCollins<e_enamex>, owned by <b_enamex type="ORGANIZATION">News Corp.<e_enamex>, which has significant
television interests.
	   ``The biggest influence in book sales today is clearly
television and films,'' <b_enamex type="PERSON">Coffey<e_enamex> said. If a book is mentioned on
``The Oprah Winfrey Show'' or tied to a movie, it can ``catch
fire,'' he said. Of course, not all books with a television
connection do well, but it certainly does not hurt to have exposure
in the mass media.
	   The editors, designers and marketers at <b_enamex type="ORGANIZATION">TV Books<e_enamex> work closely
with the writers and producers of the documentaries to re-create
the visual experience of the program while greatly expanding on its
themes. The danger remains that if a television show is not
successful, then the books can languish at the store.
	   There are drawbacks to working with authors who are immersed in
television or film projects. They tend not to have time to
concentrate on the books until after completing work on the film.
	   For a tiny publishing house, <b_enamex type="ORGANIZATION">TV Books<e_enamex> has attracted important
authors and tackled hard-hitting topics. These include Russian
history (``Russia's War: Blood Upon the Snow'' by <b_enamex type="PERSON">Richard Overy<e_enamex>,
based on a <b_timex type="DURATION">10-hour<e_timex> documentary); the <b_enamex type="ORGANIZATION">Irish Republican Army<e_enamex>
(``Behind the Mask: The IRA and Sinn Fein'' by <b_enamex type="PERSON">Peter Taylor<e_enamex>) and
Arab-Israeli relations (``Israel and the Arabs: The 50 Years' War''
by <b_enamex type="PERSON">Ahron Bregman<e_enamex> and <b_enamex type="PERSON">Jihan El-Tahri<e_enamex>).
	   <b_enamex type="PERSON">James Billington<e_enamex>, the librarian of <b_enamex type="ORGANIZATION">Congress<e_enamex> and a noted expert
on <b_enamex type="LOCATION">Russia<e_enamex>, is writing a companion book to his <b_timex type="DURATION">three-hour<e_timex> public
television series, ``The Face of Russia.''
	   <b_enamex type="PERSON">Jessica Yu<e_enamex>, who won a <b_timex type="DATE">1997<e_timex> Academy Award for her documentary
``Breathing Lessons: The Life and Work of Mark O'Brien,'' signed a
deal to write a book to go with a <b_enamex type="ORGANIZATION">Home Box Office<e_enamex> documentary about
a <b_enamex type="LOCATION">New York<e_enamex> mental hospital. The book and the film are scheduled to
have their debuts next <b_timex type="DATE">spring<e_timex>.
	   Still, not all the offerings by <b_enamex type="ORGANIZATION">TV Books<e_enamex> are serious public
affairs volumes. The first of its books to go into a fourth
printing is called ``TV Sets: Fantasy Blueprints of Classic TV
Homes,'' a collection of guides to the houses of such famous
television families as the <b_enamex type="PERSON">Bradys<e_enamex>, the <b_enamex type="PERSON">Cleavers<e_enamex> and the <b_enamex type="PERSON">Munsters<e_enamex>.
</TEXT>
</BODY>
</DOC>
<DOC>
<DOCNO> NYT19980315.0072 </DOCNO>
<DOCTYPE> NEWS STORY </DOCTYPE>
<DATE_TIME> 03/15/1998 17:29:00 </DATE_TIME>
<BODY>
<HEADLINE>
WEATHER
</HEADLINE>
<TEXT>
	   Strong thunderstorms will be common from eastern <b_enamex type="LOCATION">Texas<e_enamex> and
<b_enamex type="LOCATION">Oklahoma<e_enamex> to the lower <b_enamex type="LOCATION">Mississippi Valley<e_enamex> as a cold front moves
slowly across the region. Heavy rain in slow-moving storms will
produce local flooding.
	   <b_numex type="CARDINAL">One<e_numex> band of thunderstorms is expected to weaken <b_timex type="DATE">Monday<e_timex> morning
as it moves eastward into <b_enamex type="LOCATION">Louisiana<e_enamex>. Later <b_timex type="DATE">Monday<e_timex>, a new area of
potent thunderstorms will erupt over eastern <b_enamex type="LOCATION">Texas<e_enamex> as a jet stream
disturbance passes overhead.
	   By late <b_timex type="DATE">Monday<e_timex>, vigorous thunderstorms, some with damaging wind
and hail, will be over the southern <b_enamex type="LOCATION">Mississippi Valley<e_enamex>. Meanwhile,
lighter showers will spread across the <b_enamex type="LOCATION">Tennessee Valley<e_enamex> and
southern <b_enamex type="LOCATION">Appalachians<e_enamex>.
	   Farther north, clouds will cover most of the Plains states. Rain
will be steadiest and heaviest near the southern Plains, while
spotty light rain is expected over central sections. A bit of
freezing drizzle is possible over parts of the <b_enamex type="LOCATION">Missouri River
Valley<e_enamex>. A few flurries will whiten the northern <b_enamex type="LOCATION">Dakotas<e_enamex>.
	   The Northeast will be mainly sunny but chilly as sprawling high
pressure moves slowly southeast from <b_enamex type="LOCATION">Ontario<e_enamex>. Clouds will begin to
increase later <b_timex type="DATE">Monday<e_timex> from the southern <b_enamex type="LOCATION">Great Lakes<e_enamex> to the Middle
<b_enamex type="LOCATION">Atlantic<e_enamex> States.
	   Patchy mountain snow and valley showers will accompany a
strengthening disturbance over the interior Northwest. Overnight,
<b_numex type="MEASURE">several inches<e_numex> of snow will accumulate over parts of the northern
<b_enamex type="LOCATION">Rockies<e_enamex> as colder air arrives from the north.
	   The Southwest will be mainly dry and mild. A few clouds and
scattered sprinkles will precede the arrival of cooler air over
<b_enamex type="LOCATION">California<e_enamex> and <b_enamex type="LOCATION">Nevada<e_enamex>.
	   FOCUS: <b_timex type="DATE">MARCH<e_timex> WINDS
	   <b_timex type="DATE">March<e_timex> is known for its wind. The large temperature contrasts,
which provide energy for storms linger during the third month.
Though the deepest chill over the <b_enamex type="LOCATION">Arctic<e_enamex> is beginning to wane,
burgeoning warmth from the tropics regenerates temperature
differences across the nation. While windswept snow plagued parts
of the interior Northeast <b_timex type="DATE">Friday<e_timex>, temperatures surged to near <b_numex type="MEASURE">60<e_numex> in
the Middle <b_enamex type="LOCATION">Atlantic<e_enamex> States. On stormless days, the <b_enamex type="LOCATION">sun<e_enamex>'s energy
stirs up the lower atmosphere, blending winds near the ground with
stonger winds from above, thereby spawning the famous breezes of
<b_timex type="DATE">March<e_timex>.
</TEXT>
</BODY>
</DOC>
<DOC>
<DOCNO> NYT19980315.0073 </DOCNO>
<DOCTYPE> NEWS STORY </DOCTYPE>
<DATE_TIME> 03/15/1998 17:30:00 </DATE_TIME>
<BODY>
<HEADLINE>
<b_enamex type="PERSON">DICAPRIO<e_enamex>, CHARISMATIC STAR, BALKS AT TEEN IDOL IMAGE
</HEADLINE>
<TEXT>
	   <b_enamex type="LOCATION">HOLLYWOOD<e_enamex> _ Ask the top talent agents in <b_enamex type="LOCATION">Hollywood<e_enamex> or studio
executives or producers for the name of the biggest star in town.
It's not <b_enamex type="PERSON">Tom Cruise<e_enamex> or <b_enamex type="PERSON">Mel Gibson<e_enamex> or <b_enamex type="PERSON">Harrison Ford<e_enamex>. The answer is
<b_numex type="CARDINAL">one<e_numex> word: <b_enamex type="PERSON">Leo<e_enamex>.
	   <b_enamex type="PERSON">Leonardo DiCaprio<e_enamex> _ the few who know him and the many who
pretend to know him call the actor <b_enamex type="PERSON">Leo<e_enamex> _ is not only <b_enamex type="LOCATION" status="opt">Hollywood<e_enamex>'s
hottest star as a result of ``Titanic'' and ``The Man in the Iron
Mask'' but, by all accounts, the biggest star to have emerged in
years.
	   ``I've never seen a frenzy like this,'' said <b_enamex type="PERSON">Sherry Lansing<e_enamex>,
chairwoman of the <b_enamex type="ORGANIZATION">Paramount Motion Picture Group<e_enamex>, which jointly
financed ``Titanic'' with <b_enamex type="ORGANIZATION">20th Century Fox<e_enamex>. ``I don't know what to
relate it to _ the <b_enamex type="ORGANIZATION">Beatles<e_enamex>, <b_enamex type="PERSON">Elvis<e_enamex>, <b_enamex type="PERSON">Frank Sinatra<e_enamex> in his heyday. The
frenzy is not just about his looks but his talent.''
	   The blond <b_numex type="MEASURE">23-year<e_numex>-old actor, whose androgynous good looks make
him seem almost like a teen-ager (which is part of his appeal to
young girls), is, of course, the co-star with <b_enamex type="PERSON">Kate Winslet<e_enamex> of
``Titanic,'' in which he plays the artist-lover of an unhappy rich
woman about the doomed vessel.
	   The film has grossed more than <b_numex type="MONEY">$1 billion<e_numex> worldwide, a
box-office record, and was in a dead heat last weekend to remain in
the No. 1 spot with ``The Man in the Iron Mask,'' a remake by
<b_enamex type="PERSON">Randall Wallace<e_enamex> of the <b_enamex type="PERSON">Dumas<e_enamex> classic, which stars <b_enamex type="PERSON">DiCaprio<e_enamex> in the
dual role of <b_enamex type="PERSON">Louis XIV<e_enamex> and his brother, <b_enamex type="PERSON">Philippe<e_enamex>. Both films
grossed an estimated <b_numex type="MONEY">$17.5 million<e_numex>.
	   <b_enamex type="PERSON">DiCaprio<e_enamex>'s rapid rise to stardom is underscored by his financial
demands. He signed on to ``Titanic'' for a reported <b_numex type="MONEY">$2.5 million<e_numex>.
He earned about <b_numex type="MONEY">$6 million<e_numex> for ``The Man in the Iron Mask,'' made
by <b_enamex type="ORGANIZATION">United Artists<e_enamex>, a division of <b_enamex type="ORGANIZATION">MGM<e_enamex>. His demands for a studio film
are now in the <b_numex type="MONEY">$20 million<e_numex> range, placing him on par with <b_enamex type="PERSON">Cruise<e_enamex>,
<b_enamex type="PERSON">Ford<e_enamex> and a handful of others.
	   Yet what seems highly unusual about <b_enamex type="PERSON">DiCaprio<e_enamex>, in contrast with
stars like <b_enamex type="PERSON">Cruise<e_enamex> or <b_enamex type="PERSON">Gibson<e_enamex>, is that, by all accounts, he is not
especially comfortable with, and actually dislikes, his image as a
movie idol, not only in the <b_enamex type="LOCATION">United States<e_enamex> but abroad.
	   Several filmmakers who know him said that the star already felt
trapped by his romantic image among teen-agers and viewed himself
as a serious actor who sought roles with other talented actors and
A-list directors. (His only other forthcoming role is in a new
<b_enamex type="PERSON">Woody Allen<e_enamex> project, called ``Celebrity,'' to be released later
this year.)
	   What's also unusual about <b_enamex type="PERSON">DiCaprio<e_enamex> is that he does not fall
within the tradition of rugged classic stars like <b_enamex type="PERSON">Clark Gable<e_enamex>, or
romantic heroes like <b_enamex type="PERSON">Cary Grant<e_enamex>, or archetypal American figures
like <b_enamex type="PERSON">James Stewart<e_enamex>, or even character stars like <b_enamex type="PERSON">Spencer Tracy<e_enamex>,
<b_enamex type="PERSON">James Cagney<e_enamex> or <b_enamex type="PERSON">Humphrey Bogart<e_enamex>.
	   Instead, <b_enamex type="PERSON">DiCaprio<e_enamex> seems to most resemble <b_enamex type="PERSON">Montgomery Clift<e_enamex> and
<b_enamex type="PERSON">James Dean<e_enamex>, whose performances were marked by brooding and
sensitive roles that especially appealed to teen-agers.
	   <b_enamex type="PERSON">DiCaprio<e_enamex>'s longevity as a star remains, of course, unknown. In
present-day <b_enamex type="LOCATION">Hollywood<e_enamex>, actors are heralded as stars, mostly by the
publicity machine, but then fade. Last year <b_enamex type="ORGANIZATION">Vanity Fair<e_enamex> hailed
<b_enamex type="PERSON">Matthew McConaughey<e_enamex> as the next <b_enamex type="PERSON">Paul Newman<e_enamex>. But a series of
disappointing films have dimmed <b_enamex type="PERSON">McConaughey<e_enamex>'s stardom. <b_enamex type="PERSON">Matt Damon<e_enamex>
of ``Good Will Hunting'' is getting a similar star treatment now.
	   Yet <b_enamex type="PERSON">DiCaprio<e_enamex> is seen, somehow, differently. Since his teen-age
years, he has been a sought-after actor in <b_enamex type="LOCATION">Hollywood<e_enamex> and viewed as
a performer with an unusually broad acting range.
	   ``People are confusing his looks with his talent,'' remarked
<b_enamex type="PERSON">Lindsay Doran<e_enamex>, president of <b_enamex type="ORGANIZATION">United Artists<e_enamex>. ``Look at the <b_enamex type="ORGANIZATION">Beatles<e_enamex> _
it was the power of the music that created the emotion that got all
mixed up with how adorable those guys were.''
	   <b_enamex type="PERSON">DiCaprio<e_enamex> earned an Academy Award nomination for best supporting
actor at <b_numex type="MEASURE">19<e_numex> for his portrayal of a mentally impaired youngster in
``What's Eating Gilbert Grape.'' He gained further attention in
``This Boy's Life'' (<b_timex type="DATE">1993<e_timex>), a harrowing drama in which he played
opposite <b_enamex type="PERSON">Ellen Barkin<e_enamex> and <b_enamex type="PERSON">Robert De Niro<e_enamex> as the son of an abusive
stepfather.
	   His breakthrough role, though, was in <b_enamex type="PERSON">Baz Luhrmann<e_enamex>'s <b_enamex type="ORGANIZATION">MTV<e_enamex>-style
``William Shakespeare's `Romeo and Juliet' '' in <b_timex type="DATE">1996<e_timex>, with <b_enamex type="PERSON">Claire
Danes<e_enamex>, an unexpected hit among teen-age girls that made studios
aware of <b_enamex type="PERSON">DiCaprio<e_enamex>'s appeal.
	   ``With <b_enamex type="PERSON">Leonardo DiCaprio<e_enamex> it's charisma, pure and simple, and if
you can define what charisma is, tell me and I'll bottle it,'' said
<b_enamex type="PERSON">Laura Ziskin<e_enamex>, president of <b_enamex type="ORGANIZATION">Fox 2000<e_enamex>, a division of <b_enamex type="ORGANIZATION">20th Century
Fox<e_enamex>. ``He's got an amazing gift as an actor, but so do a lot of
people. He's got something else, and only a handful of people have
that.''
	   <b_enamex type="PERSON">DiCaprio<e_enamex>, who began making television commercials at <b_numex type="MEASURE">14<e_numex> and then
appeared on the television series ``Growing Pains,'' is almost
reclusive and declines most interviews. He appeared on <b_enamex type="ORGANIZATION">NBC<e_enamex>'s
``Today'' show last week to promote ``The Man in the Iron Mask''
and said, ``I'm a lucky guy, I'm getting <b_numex type="MEASURE">tons<e_numex> more opportunities.''
	   The fact that he was not nominated for an Academy Award _ in
contrast with Ms. <b_enamex type="PERSON">Winslet<e_enamex> _ was, he said, ``a non-issue.'' <b_enamex type="PERSON">Rick
Yorn<e_enamex>, his manager at the firm <b_enamex type="ORGANIZATION">Addis-Wechsler &AMP; Associates<e_enamex>, was
unavailable.
	   Filmmakers who have worked with <b_enamex type="PERSON">DiCaprio<e_enamex> have said that his
presence on screen sets him apart from other actors.
	   <b_enamex type="PERSON">Wallace<e_enamex>, who adapted and directed ``The Man in the Iron Mask,''
said: ``Most actors are like most people _ they're actually scared
to play roles in which they portray openness and heroism because
they have an inherent and usually unspoken fear that to attempt
such a role would be to reveal their own inherent shallowness and
cowardice. So actors hide behind quirkiness and cynicism. No one
would accuse <b_enamex type="PERSON">Leo<e_enamex> of that. Cynicism is the last thing that he's
about.''
	   <b_enamex type="PERSON">Tom Rothman<e_enamex>, president of production at <b_enamex type="ORGANIZATION">20th Century Fox<e_enamex>, put in
another way:
	   ``What you have in <b_enamex type="PERSON">Leo<e_enamex> is a gigantic star _ and remember, he's a
star worldwide _ who's somehow able to open himself up on screen
and let you in emotionally... You feel what his character in
`Titanic' feels. The same with <b_enamex type="PERSON" status="opt">Romeo<e_enamex>. It's not just a question of
good looks; there are plenty of good-looking guys out there. On the
screen he's emotionally accessible. How many actors are like
that?''
</TEXT>
</BODY>
</DOC>
<DOC>
<DOCNO> NYT19980315.0074 </DOCNO>
<DOCTYPE> NEWS STORY </DOCTYPE>
<DATE_TIME> 03/15/1998 17:36:00 </DATE_TIME>
<BODY>
<TEXT>
	   You've read the book? Now see the television program. Inspired
by ``Angela's Ashes,'' his Uncle <b_enamex type="PERSON">Frank<e_enamex>'s account of growing up in
Depression <b_enamex type="LOCATION">Ireland<e_enamex>, which has become entrenched high on best-seller
lists, <b_enamex type="PERSON">Conor McCourt<e_enamex> brings together the <b_numex type="CARDINAL">four<e_numex> <b_enamex type="PERSON">McCourt<e_enamex> brothers in
an <b_timex type="DURATION">hour<e_timex> of reminiscence and reflection, sing-along and gab about
growing up in the lanes of <b_enamex type="LOCATION">Limerick<e_enamex>.
	   Admirers of ``Angela's Ashes'' will not be surprised to discover
that the brothers' memories are at best bittersweet. Given the
miseries of their youth _ hunger and filth, early deaths and family
disarray _ the wonder is that these ``laners,'' the poorest of
<b_enamex type="LOCATION">Ireland<e_enamex>'s poor, grew up at all, much less lived to sing about it.
	   The star of <b_timex type="DATE">Tuesday<e_timex>'s <b_timex type="DATE">St. Patrick's Day<e_timex> offering is, naturally,
<b_enamex type="PERSON">Frank McCourt<e_enamex>, who turns out to be as talented a storyteller on the
screen as on the page. But <b_enamex type="PERSON">Alphie<e_enamex>, <b_enamex type="PERSON">Michael<e_enamex> and <b_enamex type="PERSON">Malachy<e_enamex> (the
documentary maker's dad) also contribute to this portrait of a
family on the loving edge.
	   Deserted by their father, a drinker, and desperately held
together as a family by their mother, <b_enamex type="PERSON">Angela<e_enamex>, the <b_numex type="CARDINAL">four<e_numex> survivors
tell of doing battle in the slums, both physical and emotional.
They grappled with grief and anger at the loss of their father and
the humiliation of seeing their mother begging for scraps on the
hard streets.
	   ``We were always hungry, and there was never enough,'' says
<b_enamex type="PERSON">Malachy<e_enamex>, ``and you'd go to bed at night, starving.''
	   Their story is deeply personal yet broadens into the story of
tough times for many.
	   Not all of these tales bear retelling, and the pub performances
by the team of <b_enamex type="PERSON">Frank<e_enamex> and <b_enamex type="PERSON">Malachy<e_enamex> are no more professional than the
program itself. But the memories of their tightknit yet unraveling
neighborhood _ the squabbles, pettiness and snobbery amid the
security _ cut deep.
	   Harsh feelings, especially toward the church, which seemed to
them aloof to <b_enamex type="LOCATION">Limerick<e_enamex>'s down-and-out, have not been softened, and
the wounds of their father's abandonment have not healed. <b_enamex type="PERSON">Frank
McCourt<e_enamex> says his book helped rid him of anger, but this affecting
reunion suggests that these <b_enamex type="PERSON">McCourts<e_enamex>, all Americans now, are still
working their ways out of a bitter past.
	   PRODUCTION NOTES:
	   `THE McCOURTS OF LIMERICK'
	   <b_timex type="TIME">8 p.m. ET<e_timex> <b_timex type="DATE">Tuesday<e_timex> on <b_enamex type="ORGANIZATION">Cinemax<e_enamex>
	   Original conception by <b_enamex type="PERSON">Conor McCourt<e_enamex>; directed by <b_enamex type="PERSON">Conor McCourt<e_enamex>;
produced by <b_enamex type="PERSON">Conor McCourt<e_enamex> and <b_enamex type="PERSON">Greg Dougherty<e_enamex>; <b_enamex type="PERSON">Charlotte Forest<e_enamex>,
executive producer for <b_enamex type="ORGANIZATION">Homestead Editorial<e_enamex>. For ``Cinemax Reel
Life'': <b_enamex type="PERSON">Sheila Nevins<e_enamex>, executive producer; <b_enamex type="PERSON">Jacqueline Glover<e_enamex>,
associate producer. Original music produced and composed by <b_enamex type="PERSON">John
O'Neill<e_enamex>. ``Angela's Smile'': lyrics by <b_enamex type="PERSON">Dereen Griffin<e_enamex>; music by
<b_enamex type="PERSON">Marian Thomas Griffin<e_enamex>; sung by <b_enamex type="PERSON">Marian Thomas Griffin<e_enamex>; produced by
<b_enamex type="PERSON">Tony Conniff<e_enamex>. A production of <b_enamex type="ORGANIZATION">Romeo &AMP; Juliet Productions Inc.<e_enamex>
</TEXT>
</BODY>
</DOC>
<DOC>
<DOCNO> NYT19980315.0084 </DOCNO>
<DOCTYPE> NEWS STORY </DOCTYPE>
<DATE_TIME> 03/15/1998 18:03:00 </DATE_TIME>
<BODY>
<HEADLINE>
A DIRECTOR WHO DARES, AND TAKES THE HEAT
</HEADLINE>
<TEXT>
	   <b_enamex type="LOCATION">NEW YORK<e_enamex> _ The day after his production of ``Lohengrin''
received a hostile reception at the <b_enamex type="ORGANIZATION">Metropolitan Opera<e_enamex>, <b_enamex type="PERSON">Robert
Wilson<e_enamex>, with commitments to keep, flew to <b_enamex type="LOCATION">Europe<e_enamex>. On the telephone
from <b_enamex type="LOCATION">Geneva<e_enamex>, the director expressed his surprise at the reaction,
and tried to explain the reason behind it.
	   ``With <b_enamex type="PERSON">Wagner<e_enamex>, there is a society that's very closed,'' he said.
``They regard `Lohengrin' as <b_timex type="DATE">19th-century<e_timex> romanticism and want to
guard it.'' He made it clear that he considered Wagnerians a
distinct breed of classicists, rigid in their overprotectiveness.
	   Following that opening-night performance last week, the audience
enthusiastically applauded each of the leading singers and <b_enamex type="PERSON">James
Levine<e_enamex>, who had conducted the orchestra. Then <b_enamex type="PERSON">Levine<e_enamex> brought <b_enamex type="PERSON">Wilson<e_enamex>
onstage, and there was a sudden, loud chorus of boos, echoing
through the opera house. Those who were applauding clapped harder,
and there were a few lonely bravos. But the jeers resoundingly
outnumbered the cheers.
	   At a second round of bows, the response was the same. For the
third round, <b_enamex type="PERSON">Wilson<e_enamex> brought his costume designer, <b_enamex type="PERSON">Frida
Parmeggiani<e_enamex>, forward with him (possibly to shield himself from the
naysayers).
	   In his long international career as an innovative director of
theater and opera, <b_enamex type="PERSON">Wilson<e_enamex> has always stirred the strongest
reactions. Especially in <b_enamex type="LOCATION">Europe<e_enamex>, he is regarded as an icon of
experimental theater, greeted with appreciative cries of
``Bobwilson.'' He is certainly accustomed to criticism, in public
and in print, but the <b_enamex type="ORGANIZATION">Met<e_enamex> reception was excessive and
extraordinarily rude. It was as if he had committed a crime against
the audience.
	   <b_enamex type="PERSON">Wilson<e_enamex> said that standing on the stage, struck by a wave of
derision, he thought, ``Wow!'' wondering what had provoked such a
visceral response. As he said: ``I didn't do anything so radical. I
didn't ask the singers to sing upside down.''
	   What he did was to strip the opera of its romantic trappings and
present it in an abstract modern manner, with a minimum of scenery
and with lighting used to denote both environment and atmosphere.
Behind the singers, a shimmering <b_enamex type="PERSON">Rothko<e_enamex>-like rectangle changed
color according to mood and, in <b_enamex type="PERSON">Wilson<e_enamex>'s signature style, bars of
light, both horizontal and vertical, were substituted for
traditional woods and palaces.
	   Looking back at the beginning of the project, he said that he
had seen a photograph of a production of ``Hamlet'' in which the
ghost was an ordinary man sitting at a desk. He considered the
possibility of staging ``Lohengrin'' in a similar realistic
fashion.
	   Then, inspired by <b_enamex type="PERSON">Wagner<e_enamex>'s own drawings, he began to see the
stage space in abstract terms. Searching for the architecture of
that space, he decided to frame the opera with lighting and to
present it ``in a simple way, so you could concentrate on the
music,'' while knowing that ``the simplest line is the most
difficult.'' At the same time, he retained <b_enamex type="PERSON">Wagner<e_enamex>'s wing of a swan
as a central motif.
	   Because of the work's mythic elements and outsize emotions, he
said, it could easily be made to seem ridiculous: ``If I did the
opera in an overly theatrical way, that would diminish the music.''
Remembering other productions, he added, ``Often the music is
diminished.'' At all costs, he wanted to help the <b_enamex type="ORGANIZATION">Met<e_enamex> singers feel
more comfortable on stage and to give their best performances.
	   ``I was trying to be respectful to the text, the story and
<b_enamex type="PERSON">Wagner<e_enamex>,'' he said. ``One has to pay respect to the master, but one
has to be careful not to become a slave.'' He said that a classic
should not be rooted in a single time or place: ``This ancient
story must be timeless. It must be present, too.''
<ANNOTATION>
	   (STORY CAN END HERE. OPTIONAL MATERIAL FOLLOWS)
</ANNOTATION>
	   Whether he is doing <b_enamex type="PERSON">Wagner<e_enamex> or <b_enamex type="PERSON">Virgil Thomson<e_enamex>, he often
encounters resistance. He remembered that when he did <b_enamex type="PERSON">Richard
Strauss<e_enamex>' ``Salome'' at <b_enamex type="ORGANIZATION">La Scala<e_enamex> in <b_timex type="DATE">1987<e_timex>, his diva <b_enamex type="PERSON">Montserrat
Caballe<e_enamex> persuaded him to take a bow with her: ``They booed; they
bravoed. The booing was less.''
	   <b_enamex type="PERSON">Wilson<e_enamex>'s only previous encounter with the <b_enamex type="ORGANIZATION">Met<e_enamex> was in <b_timex type="DATE">1986<e_timex> with
``Einstein on the Beach,'' an opera he created with <b_enamex type="PERSON">Philip Glass<e_enamex>.
This was not part of the <b_enamex type="ORGANIZATION">Met<e_enamex> repertory but was an independent
production paid for by <b_enamex type="PERSON">Wilson<e_enamex>. (And he lost money on the venture.)
On opening night there were a few walkouts, but those who stayed
for the nearly <b_timex type="DURATION">five-hour<e_timex> epic greeted it with a thunderous ovation.
	   With recent shows like ``The Black Rider'' and ``Time Rocker''
at the <b_enamex type="ORGANIZATION">Brooklyn Academy of Music<e_enamex>, theatergoers attuned to his work
arrive with Wilsonian expectations. He said that in contrast to the
opera public, theater and particularly dance audiences are able to
approach a production as a visual art, to look at it as they might
look at a painting.
	   He said that people are accustomed to seeing <b_enamex type="PERSON">Shakespeare<e_enamex> in all
possible situations: updated, undated, deconstructed or even as a
monologue, as in <b_enamex type="PERSON">Wilson<e_enamex>'s own <b_numex type="MEASURE">one-man<e_numex> performance of ``Hamlet.''
With equanimity, he has also directed imaginative interpretations
of plays by <b_enamex type="PERSON">Ibsen<e_enamex>, <b_enamex type="PERSON">Buechner<e_enamex>, <b_enamex type="PERSON">Brecht<e_enamex> and others.
	   Whether he is doing a new work or a classic, he makes bold
artistic choices. Occasionally he indulges in a kind of
brinksmanship. At <b_numex type="CARDINAL">one<e_numex> point in his version of ``The Magic Flute''
<b_timex type="DURATION">several years<e_timex> ago at the <b_enamex type="ORGANIZATION">Bastille Opera<e_enamex> in <b_enamex type="LOCATION">Paris<e_enamex>, he had a toy
ambulance zip across the stage, an antic <b_enamex type="PERSON">Wilson<e_enamex> touch. His leading
singer objected, giving him the choice of either her or the toy
car. In a directorial compromise, the car was eliminated. There
were no such anachronisms in his ``Lohengrin.''
	   With ``Lohengrin,'' the difficulty was in daring to direct a
Wagnerian classic at the <b_enamex type="ORGANIZATION">Met<e_enamex>. It seemed apparent that no matter
what <b_enamex type="PERSON">Wilson<e_enamex> did to <b_enamex type="PERSON">Wagner<e_enamex> would have been abhorrent to a large
segment of the audience. After the premiere, the controversy
continued over the Internet.
	   In his brief trip to <b_enamex type="LOCATION">Europe<e_enamex>, the director busily immersed
himself in <b_numex type="CARDINAL">two<e_numex> forthcoming projects: a production of <b_enamex type="PERSON">Ibsen<e_enamex>'s ``Lady
From the Sea'' (starring <b_enamex type="PERSON">Dominique Sanda<e_enamex>) in <b_enamex type="LOCATION">Milan<e_enamex>, <b_enamex type="LOCATION">Italy<e_enamex>, and a
workshop of a contemporary opera by <b_enamex type="PERSON">Tania Leon<e_enamex> in <b_enamex type="LOCATION">Geneva<e_enamex>. He
indicated that he was undiscouraged by the <b_enamex type="ORGANIZATION">Met<e_enamex> experience. ``I go
from <b_numex type="CARDINAL">one<e_numex> thing to the next, and I don't think about it,'' he said.
Or rather, he was trying not to think about it. Even to such an
internationally acclaimed artist like <b_enamex type="PERSON">Wilson<e_enamex>, such treatment must
be hurtful.
	   He remembered once receiving advice from <b_enamex type="PERSON">Diana Vreeland<e_enamex>: ``Don't
worry, <b_enamex type="PERSON">Bob<e_enamex>. Some years they love you; some years they hate you.
Just do the work.'' But would he do more <b_enamex type="PERSON">Wagner<e_enamex>? ``Maybe I'll do
`The Ring' now,'' he said, in full awareness that such an
announcement could cause a seismic shudder at the <b_enamex type="ORGANIZATION">Met<e_enamex>.
	   After returning to <b_enamex type="LOCATION">New York<e_enamex>, he plans to attend the performances
of ``Lohengrin'' <b_timex type="DATE">Tuesday<e_timex> and <b_timex type="DATE">Saturday<e_timex>. Asked if he would appear
onstage with the cast at the final curtain, <b_enamex type="PERSON">Wilson<e_enamex> offered an
emphatic ``No!''
</TEXT>
</BODY>
</DOC>
<DOC>
<DOCNO> NYT19980315.0085 </DOCNO>
<DOCTYPE> NEWS STORY </DOCTYPE>
<DATE_TIME> 03/15/1998 18:05:00 </DATE_TIME>
<BODY>
<HEADLINE>
ADVERTISING: AFTER <b_timex type="DURATION">32 YEARS<e_timex>, <b_enamex type="ORGANIZATION">WELLS BDDP<e_enamex> WILL CLOSE
</HEADLINE>
<TEXT>
	   <b_enamex type="LOCATION">NEW YORK<e_enamex> _ Time has run out for the besieged <b_enamex type="ORGANIZATION">Wells BDDP<e_enamex>, the
onetime Madison Avenue powerhouse that had recently stumbled into a
stunning free fall as large clients left amid executive turmoil and
ownership changes.
	   <b_enamex type="ORGANIZATION">GGT Group PLC<e_enamex>, the parent of <b_enamex type="ORGANIZATION">Wells<e_enamex>, said on <b_timex type="DATE">Friday<e_timex> that <b_enamex type="ORGANIZATION">Wells<e_enamex>
would be closed after <b_timex type="DURATION">32 years<e_timex>, effective on <b_timex type="DATE">May 13<e_timex>. The shutdown
will affect <b_numex type="CARDINAL">133<e_numex> employees in <b_enamex type="LOCATION">New York<e_enamex>, though at the start of the
year <b_enamex type="ORGANIZATION">Wells<e_enamex> had more than twice that number.
	   Efforts will be made to place employees with affiliates of
<b_enamex type="ORGANIZATION">Omnicom Group<e_enamex>, the giant agency company that agreed in late <b_timex type="DATE">January<e_timex>
to acquire <b_enamex type="ORGANIZATION">GGT<e_enamex>. They will be eligible for ``at least <b_timex type="DURATION">six months<e_timex> to
as much as a <b_timex type="DURATION">year<e_timex>'' in severance pay, said <b_enamex type="PERSON">John Wren<e_enamex>, the president
and chief executive at <b_enamex type="ORGANIZATION">Omnicom<e_enamex> in <b_enamex type="LOCATION">New York<e_enamex>.
	   The shutdown will abruptly end <b_enamex type="ORGANIZATION">Wells<e_enamex>' battle for survival during
which billings fell to less than <b_numex type="MONEY">$200 million<e_numex> from a peak of almost
<b_numex type="MONEY">$1 billion<e_numex> <b_timex type="DURATION">seven years<e_timex> ago. Just since <b_timex type="DATE">November<e_timex>, <b_enamex type="ORGANIZATION">Wells<e_enamex> has lost
more than <b_numex type="MONEY">$330 million<e_numex> in billings from clients like <b_enamex type="ORGANIZATION">Bristol-Myers
Squibb<e_enamex>, <b_enamex type="ORGANIZATION">Heineken USA Inc.<e_enamex>, <b_enamex type="ORGANIZATION">Liberty Mutual Insurance Co.<e_enamex>, <b_enamex type="ORGANIZATION">Procter &AMP;
Gamble Co.<e_enamex> and <b_enamex type="ORGANIZATION">Tag Heuer USA<e_enamex>.
	   The closing also ends more than <b_timex type="DURATION">three decades<e_timex> of advertising
achievement that included such familiar campaigns as ``Quality is
Job 1'' for <b_enamex type="ORGANIZATION">Ford<e_enamex>, ``I can't believe I ate the whole thing'' for
<b_enamex type="ORGANIZATION">Alka-Seltzer<e_enamex>, ``Oh, the disadvantages'' for <b_enamex type="ORGANIZATION">Benson &AMP; Hedges<e_enamex>
cigarettes and ``A totally organic experience'' for <b_enamex type="ORGANIZATION">Clairol<e_enamex> Herbal
Essences shampoo.
	   ``<b_enamex type="ORGANIZATION">Wells<e_enamex> and the kind of work it did was <b_numex type="CARDINAL">one<e_numex> of the reasons I got
into this business,'' said <b_enamex type="PERSON">Steve Davis<e_enamex>, who joined <b_enamex type="ORGANIZATION">Wells<e_enamex> only <b_timex type="DURATION">six
weeks<e_timex> ago as chairman and chief executive after the dismissal of
<b_enamex type="PERSON">Frank Assumma<e_enamex>.
	   ``To look at the agency's reel was to see the best and the
brightest,'' <b_enamex type="PERSON">Davis<e_enamex> said. ``But it got to the point there was not
enough critical mass to keep going.
	   ``And for us to dance our way into a `merger' with another
agency would have been fairly transparent,'' he added, ``because
there's not that much left to merge with.''
	   The client roster of <b_enamex type="ORGANIZATION">Wells<e_enamex> and its affiliate, <b_enamex type="ORGANIZATION">Moss/Dragoti<e_enamex>, had
dwindled to <b_numex type="CARDINAL">five<e_numex> accounts. With the closing date posted, <b_numex type="CARDINAL">four<e_numex> of
the <b_numex type="CARDINAL">five<e_numex> have started leaving for other agencies; the fifth, <b_enamex type="ORGANIZATION">Chase
Manhattan Corp.<e_enamex>, had already placed its account in review.
	   <b_enamex type="ORGANIZATION">Omnicom<e_enamex> moved to acquire <b_enamex type="ORGANIZATION">GGT<e_enamex> after the loss of <b_enamex type="ORGANIZATION">Wells<e_enamex>' largest
client, <b_enamex type="ORGANIZATION">Procter &AMP; Gamble<e_enamex> _ with billings estimated at <b_numex type="MONEY">$125 million<e_numex>
_ plunged <b_enamex type="ORGANIZATION">GGT<e_enamex> into crisis. The hope had been widespread that <b_enamex type="ORGANIZATION">Wells<e_enamex>
would somehow remain in business, perhaps as a unit of an <b_enamex type="ORGANIZATION">Omnicom<e_enamex>
agency like <b_enamex type="ORGANIZATION">DDB Needham Worldwide<e_enamex> or <b_enamex type="ORGANIZATION">TBWA Chiat/Day<e_enamex>.
	   But ``there was virtually no revenue left'' because of the
substantial account losses, <b_enamex type="PERSON">Wren<e_enamex> said. That sealed <b_enamex type="ORGANIZATION">Wells<e_enamex>' fate, on
a <b_timex type="DATE">Friday the 13th<e_timex> no less.
<ANNOTATION>
	   (STORY CAN END HERE _ OPTIONAL MATERIAL FOLLOWS)
</ANNOTATION>
	   ``I feel terrible about this,'' said <b_enamex type="PERSON">Charlie Moss<e_enamex>, the chairman
of <b_enamex type="ORGANIZATION">Moss/Dragoti<e_enamex>, who was <b_numex type="CARDINAL">one<e_numex> of the initial employees of <b_enamex type="ORGANIZATION">Wells<e_enamex> when
it opened as <b_enamex type="ORGANIZATION">Wells, Rich, Greene<e_enamex> in <b_timex type="DATE">1966<e_timex>. ``It's very sad to see it
happen.''
	   ``We should have a memorial service someday,'' he added, ``to
say goodbye in a nice way.''
	   <b_numex type="CARDINAL">Two<e_numex> clients that had been handled by <b_enamex type="ORGANIZATION">Moss/Dragoti<e_enamex> are headed for
<b_enamex type="ORGANIZATION">DDB Needham<e_enamex> in <b_enamex type="LOCATION">New York<e_enamex> along with <b_enamex type="PERSON">Moss<e_enamex> and his longtime partner,
<b_enamex type="PERSON">Stan Dragoti<e_enamex>.
	   <b_numex type="CARDINAL">One<e_numex> is <b_enamex type="ORGANIZATION">Hertz Corp.<e_enamex> and the other is the <b_enamex type="ORGANIZATION">History Channel<e_enamex>, the
cable television network owned by <b_enamex type="ORGANIZATION">Walt Disney Co.<e_enamex>, <b_enamex type="ORGANIZATION">Hearst Corp.<e_enamex> and
the <b_enamex type="ORGANIZATION">NBC<e_enamex> unit of <b_enamex type="ORGANIZATION">General Electric Co.<e_enamex> Combined billings are
estimated at more than <b_numex type="MONEY">$40 million<e_numex>.
	   <b_enamex type="PERSON">Ken Kaess<e_enamex>, president of the <b_enamex type="ORGANIZATION">DDB Needham<e_enamex> <b_enamex type="LOCATION">U.S.<e_enamex> division, was
pleased to land <b_numex type="CARDINAL">two<e_numex> additional clients unexpectedly but was
dismayed at the circumstances.
	   ``It's too bad,'' he said. ``<b_enamex type="ORGANIZATION">Wells<e_enamex> is a terrific brand name.''
	   The <b_enamex type="ORGANIZATION">Wells<e_enamex> name had for years been burnished by <b_enamex type="PERSON">Mary Wells
Lawrence<e_enamex>, whose fierce devotion to clients and creative instincts
made her an advertising legend. Her fledgling agency grew quickly
from the <b_timex type="DATE">1960s<e_timex> into the <b_timex type="DATE">1970s<e_timex>, attracting blue-chip clients like
<b_enamex type="ORGANIZATION">Ford Motor Co.<e_enamex>; <b_enamex type="ORGANIZATION">ITT Sheraton Corp.<e_enamex>; <b_enamex type="ORGANIZATION">IBM<e_enamex>; <b_enamex type="ORGANIZATION">Miles Inc.<e_enamex>, now part of
<b_enamex type="ORGANIZATION">Bayer<e_enamex>; <b_enamex type="ORGANIZATION">Philip Morris Cos.<e_enamex>; and <b_enamex type="ORGANIZATION">P&AMP;G<e_enamex>.
	   ``<b_enamex type="PERSON">Mary<e_enamex> created an environment and an attitude here,'' <b_enamex type="PERSON">Davis<e_enamex>
said, ``and underpinned it with great people who delivered on that
promise. <b_enamex type="ORGANIZATION">Wells<e_enamex> could always be depended on for something new and
different.''
	   But after the agency was sold in <b_timex type="DATE">1990<e_timex> to <b_enamex type="ORGANIZATION">BDDP<e_enamex>, a French agency
company, Ms. <b_enamex type="PERSON">Lawrence<e_enamex> withdrew from active involvement, and
financial problems began to impede <b_enamex type="ORGANIZATION">Wells<e_enamex>' performance. <b_enamex type="ORGANIZATION">Wells<e_enamex> then
suffered through waves of account losses and management tumult as
well as another change in ownership when <b_enamex type="ORGANIZATION">BDDP<e_enamex> was acquired last
year by <b_enamex type="ORGANIZATION">GGT<e_enamex>.
	   For instance, <b_numex type="CARDINAL">one<e_numex> <b_timex type="DURATION">six-month<e_timex> period in <b_timex type="DATE">1995<e_timex> brought the sudden
departures from <b_enamex type="ORGANIZATION">Wells<e_enamex> of the chairman and chief executive, the
president and the chief financial officer.
	   ``It was a big roller coaster,'' said <b_enamex type="PERSON">Linda Kaplan Thaler<e_enamex>, who
worked at <b_enamex type="ORGANIZATION">Wells<e_enamex> in a top creative post from <b_timex type="DATE">1994<e_timex> to <b_timex type="DATE">1997<e_timex>. ``I went
on a maternity leave, and when I came back, nobody was there.
	   ``It was an unfortunate sequence of happenstances,'' she added.
``No <b_numex type="CARDINAL">one<e_numex> person is responsible; everyone there had the best of
intentions.''
	   <b_enamex type="ORGANIZATION">Kaplan Thaler Group<e_enamex> in <b_enamex type="LOCATION">New York<e_enamex>, an advertising and production
company that Ms. <b_enamex type="PERSON">Kaplan Thaler<e_enamex> opened after leaving <b_enamex type="ORGANIZATION">Wells<e_enamex>, is being
awarded the account of another <b_enamex type="ORGANIZATION">Wells<e_enamex> client, <b_enamex type="ORGANIZATION">Toys ``R'' Us<e_enamex>, with
billings estimated at <b_numex type="MONEY">$30 million<e_numex> to <b_numex type="MONEY">$40 million<e_numex>. Ms. <b_enamex type="PERSON">Kaplan Thaler<e_enamex>
had worked for <b_enamex type="ORGANIZATION">Toys ``R'' Us<e_enamex> at <b_enamex type="ORGANIZATION">Wells<e_enamex> and at the <b_enamex type="ORGANIZATION">J. Walter Thompson
New York<e_enamex> unit of <b_enamex type="ORGANIZATION">WPP Group<e_enamex>, where she wrote the <b_enamex type="ORGANIZATION">Toys ``R'' Us<e_enamex>
jingle.
	   Ms. <b_enamex type="PERSON">Kaplan Thaler<e_enamex> had been bound by a noncompetition agreement
with <b_enamex type="ORGANIZATION">Wells<e_enamex> that expires in <b_timex type="DATE">July<e_timex>. But the closing led <b_enamex type="ORGANIZATION">Wells<e_enamex> to waive
the stricture so the account could move now.
	   The fourth <b_enamex type="ORGANIZATION">Wells<e_enamex> account moving to another agency is the
packaged paper-products division of <b_enamex type="ORGANIZATION">Georgia-Pacific Corp.<e_enamex>, which
arrived at <b_enamex type="ORGANIZATION">Wells<e_enamex> only last <b_timex type="DATE">fall<e_timex>. Like <b_enamex type="ORGANIZATION">Hertz<e_enamex> and the <b_enamex type="ORGANIZATION">History
Channel<e_enamex>, it is also leaving for an <b_enamex type="ORGANIZATION">Omnicom<e_enamex>-owned agency, the <b_enamex type="ORGANIZATION">BBDO
South<e_enamex> unit of <b_enamex type="ORGANIZATION">BBDO Worldwide<e_enamex>.
	   <b_enamex type="ORGANIZATION">BBDO South<e_enamex> in <b_enamex type="LOCATION">Atlanta<e_enamex>, which handles corporate advertising for
<b_enamex type="ORGANIZATION">Georgia-Pacific<e_enamex>, will assume additional duties for brands like
Angel Soft toilet tissue and Sparkle paper towels, said <b_enamex type="PERSON">Ken Haldin<e_enamex>,
a spokesman for <b_enamex type="ORGANIZATION">Georgia-Pacific<e_enamex> in <b_enamex type="LOCATION">Atlanta<e_enamex>. Billings were estimated
at <b_numex type="MONEY">$30 million<e_numex> to <b_numex type="MONEY">$40 million<e_numex>.
	   <b_enamex type="ORGANIZATION">Omnicom<e_enamex> anticipates completing the acquisition of <b_enamex type="ORGANIZATION">GGT<e_enamex> in the
next <b_timex type="DURATION">two weeks<e_timex>, <b_enamex type="PERSON">Wren<e_enamex> said, adding that he planned to sponsor a
``<b_timex type="DURATION">three-day<e_timex> job fair to try to place as many <b_enamex type="ORGANIZATION">Wells<e_enamex> employees as
possible'' at <b_enamex type="ORGANIZATION">Omnicom<e_enamex> agencies and subsidiaries.
	   ``The employees are the innocent victims of all these events,''
he added.
	   <b_enamex type="PERSON">Davis<e_enamex>, who said he would consider his next move after <b_enamex type="ORGANIZATION">Wells<e_enamex>
closed, agreed with <b_enamex type="PERSON">Wren<e_enamex>.
	   ``I told the staff this didn't have anything to do with them,''
he said, referring to his remarks at a meeting at the <b_enamex type="ORGANIZATION">Wells<e_enamex> office
on <b_timex type="DATE">Friday<e_timex> afternoon. ``I've never seen such passion and conviction
in the face of having to read about the agency in the papers every
day.''
</TEXT>
</BODY>
</DOC>
<DOC>
<DOCNO> NYT19980315.0086 </DOCNO>
<DOCTYPE> NEWS STORY </DOCTYPE>
<DATE_TIME> 03/15/1998 18:06:00 </DATE_TIME>
<BODY>
<HEADLINE>
`THE GIFTS OF THE JEWS': DESERT NOMADS CHANGED THE WORLD WITH THE
</HEADLINE>
<TEXT>
	   ``To most readers today, the Bible is a confusing hodgepodge;
and those who take up the daunting task of reading it from cover to
cover seldom maintain their resolve beyond a book or <b_numex type="CARDINAL">two<e_numex>.'' So
writes <b_enamex type="PERSON">Thomas Cahill<e_enamex> in his captivating new book, ``The Gifts of
the Jews,'' a sequel to the author's best-selling ``How the Irish
Saved Civilization'' and the second book in his projected
<b_numex type="MEASURE">seven-volume<e_numex> ``Hinges of History'' series, about ``the great
gift-givers'' who shaped Western civilization.
	   ``Though the Bible is full of literature's <b_numex type="CARDINAL">two<e_numex> great themes,
love and death (as well as its exciting caricatures, sex and
violence),'' <b_enamex type="PERSON">Cahill<e_enamex> continues, ``it is also full of tedious ritual
prescriptions and interminable battles. More than anything, because
the Bible is the product of so many hands over so many ages, it is
full of confusion for the modern reader who attempts to decode what
it might be about.''
	   So he decodes it for us, the Hebrew Bible, that is, comprising
Torah (or Teaching), Neviim (or Prophets) and Ketuvim (or
Writings). The former director of religious publishing at
<b_enamex type="ORGANIZATION">Doubleday<e_enamex>, <b_enamex type="PERSON">Cahill<e_enamex> skips over the boring parts or summarizes their
implications; he skirts much scholarly controversy; he simplifies
``complex questions so that the line of my argument may appear
clearly;'' he writes in an easy, relaxed vernacular.
	   And he enjoys himself. He laughs at the pharaoh who asks,
``Ma-zot?'' (``What's this?''), ``an almost comic exclamation of
frustration often heard in modern <b_enamex type="LOCATION">Israel<e_enamex>,'' when he learns that
<b_enamex type="PERSON">Sarah<e_enamex> (in Genesis) is actually not <b_enamex type="PERSON">Abraham<e_enamex>'s sister but his wife.
	   He delights in the accessibility of <b_enamex type="PERSON">David<e_enamex>'s character: ``He is
the captain of the football team, the supersalesman, the engaging
entertainer, the charismatic politician. We know the man.'' He
quotes in full the beautiful King James Version of the 23rd Psalm,
even though much of the English-speaking world probably knows it by
heart.
	   So the reader enjoys himself, too, happy to have gaps filled in,
amused to read the author's snappy summaries of obscure
occurrences, edified by his straightforward interpretations of
much-debated episodes.
	   But, as his subtitle conveys, ``How a Tribe of Desert Nomads
Change the Way Everyone Thinks and Feels,'' <b_enamex type="PERSON">Cahill<e_enamex> has a much
larger purpose here than simply to entertain. What he sets out to
make clear is that when <b_enamex type="PERSON">Abraham<e_enamex> in Genesis heard a voice telling
him ``Go-you-forth/from your land,/from your kindred,/from your
father's house,/to the land that I will let you see,'' something
new in history was happening, ``a migration in the wrong
direction'' that ``would change the face of the <b_enamex type="LOCATION">earth<e_enamex>.''
	   So in his reading of the Hebrew Bible he not only traces the
development of the Hebrew <b_enamex type="PERSON">God<e_enamex> from the figure who heavy-handedly
called for the near-sacrifice of <b_enamex type="PERSON">Isaac<e_enamex> because ``He had to
jump-start this new religion, and He didn't always have the best
material to work with,'' to what the King James calls the ``still,
small voice'' that the Prophet <b_enamex type="PERSON">Elijah<e_enamex> heard. <b_enamex type="PERSON">Cahill<e_enamex> also contrasts
this development with what existed before <b_enamex type="PERSON">Abraham<e_enamex>'s departure for
<b_enamex type="LOCATION">Canaan<e_enamex>, namely what the author describes as the static outlook of
the Mesopotamian kingdom of <b_enamex type="LOCATION">Sumer<e_enamex> around <b_timex type="DATE">2000 B.C.<e_timex>, which conceived
of time as a turning wheel without beginning or end.
	   This section on <b_enamex type="LOCATION">Sumer<e_enamex> is the most speculative in <b_enamex type="PERSON">Cahill<e_enamex>'s book.
By offering up ``Gilgamesh'' as an epic without much dramatic
development, and by imagining an eerie <b_enamex type="LOCATION">Moon<e_enamex>-cult ritual in which a
priestess mounts an adolescent boy, he is more or less asking us to
take his word (and that of the pre-eminent modern scholar of
religion, <b_enamex type="PERSON">Mircea Eliade<e_enamex>) that the Sumerians lacked any sense of
history.
	   But the timeless atmosphere he evokes certainly contrasts
vividly with the sharpness of the Hebrew imperative ``lekh-lekha''
(``Go forth'') and the phrase ``wayyelekh <b_enamex type="PERSON">Avram<e_enamex>'' (``<b_enamex type="PERSON">Abraham<e_enamex>
went''), which <b_enamex type="PERSON">Cahill<e_enamex> calls ``<b_numex type="CARDINAL">two<e_numex> of the boldest words in all of
literature.'' And what matters, after all, are the events after
<b_enamex type="PERSON">Abraham<e_enamex>'s departure.
	   Does the thesis of ``The Gifts of the Jews'' stand up,
persuading us that the Israelites changed history? As readers of
``How the Irish Saved Civilization'' will recall, <b_enamex type="PERSON">Cahill<e_enamex> is fond of
hyperbole. So one might take it with a grain of salt when he writes
of the Old Testament Jews that ``it may be said with some justice
that theirs is the only new idea that human beings have ever had,''
or ``We can hardly get up in the morning or cross the street
without being Jewish.''
	   Then, too, he seems to be chiding anti-Semites, of whom he
writes: ``The hatred of Christians for Jews may have its ultimate
source in hatred of <b_enamex type="PERSON">God<e_enamex>, a hatred that the hater must carefully
keep himself from knowing about.''
	   Yet ``The Gifts of the Jews'' is finally persuasive as well as
entertaining. ``Where are the Sumerians, the Babylonians, the
Assyrians today?'' he asks, remarking on Jewish identity and the
``unique miracle of cultural survival.''
	   ``The Jews gave us the Outside and the Inside _ our outlook and
our inner life,'' he concludes. ``We dream Jewish dreams and hope
Jewish hopes. Most of our best words, in fact _ new, adventure,
surprise; unique, individual, person, vocation; time, history,
future; freedom, progress, spirit; faith, hope, justice _ are gifts
of the Jews.''
	   And so is <b_enamex type="PERSON">Cahill<e_enamex>'s book a gift.
	   PUBLICATION NOTES:
	   `THE GIFTS OF THE JEWS'
	   How a Tribe of Desert Nomads Changed the Way Everyone Thinks and
Feels
	   By <b_enamex type="PERSON">Thomas Cahill<e_enamex>
	   Maps. <b_numex type="CARDINAL">291<e_numex> pages. <b_enamex type="PERSON">Nan A. Talese<e_enamex>/<b_enamex type="ORGANIZATION">Doubleday<e_enamex>. <b_numex type="MONEY">$23.50<e_numex>.
</TEXT>
</BODY>
</DOC>
<DOC>
<DOCNO> NYT19980315.0087 </DOCNO>
<DOCTYPE> NEWS STORY </DOCTYPE>
<DATE_TIME> 03/15/1998 18:07:00 </DATE_TIME>
<BODY>
<HEADLINE>
MUSICIANS ON <b_enamex type="LOCATION" status="opt">BROADWAY<e_enamex> TO VOTE ON A CONTRACT
</HEADLINE>
<TEXT>
	   <b_enamex type="LOCATION">NEW YORK<e_enamex> _ Officials of the union representing <b_enamex type="LOCATION" status="opt">Broadway<e_enamex>'s
musicians are to meet with negotiators for producers and theater
owners <b_timex type="DATE">Tuesday<e_timex> to continue working out the final language of a
tentative agreement on a new <b_timex type="DURATION">five-year<e_timex> contract. The agreement
could be put to a vote of the members as early as next week, the
officials said.
	   <b_enamex type="ORGANIZATION">Local 802 of the American Federation of Musicians<e_enamex> called off a
planned strike vote on <b_timex type="DATE">Saturday<e_timex> when the tentative agreement was
reached. The contract between the local and the <b_enamex type="ORGANIZATION">League of American
Producers and Theater Owners<e_enamex>, which represents <b_numex type="CARDINAL">36<e_numex> of <b_enamex type="LOCATION" status="opt">Broadway<e_enamex>'s <b_numex type="CARDINAL">38<e_numex>
theaters, had expired on <b_timex type="DATE">March 8<e_timex>, and last <b_timex type="DATE">Tuesday<e_timex> the local's
executive board had approved the strike vote.
	   The tentative agreement calls for a wage increase of more than
<b_numex type="PERCENT">21 percent<e_numex> over the life of the contract, said <b_enamex type="PERSON">Judy West<e_enamex>, a
spokeswoman for the local, and <b_enamex type="PERSON">Jed Bernstein<e_enamex>, the league's
executive director.
	   The musicians are currently paid an average of <b_numex type="MEASURE">$1,300 a week<e_numex>.
</TEXT>
</BODY>
</DOC>
</IEER_DOC>
