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<font style="font-size: 16pt;" face="Times New Roman" size="4">Salut Elaine,</font><br><br> <a href="http://http//www.youtube.com/watch?v=ipzR9bhei_o">http://http://www.youtube.com/watch?v=ipzR9bhei_o</a><br><br><br><font style="font-size: 16pt;" face="Times New Roman" size="4"> Glad you brought that up. I also 'feel' uncomfortable or perhaps dismayed is a better word with the use of GG's Goldberg in a horror film and furthermore I have never understood the reverence afforded "The Silence etc" by what seems to be a rather sizeable swathe of the film watching public. On the other hand Bach's music is a regular feature of many horror films as we all know<b>;</b> let's face it, once the toccata and fugue in D minor begin blasting out of a pipe organ WE KNOW the house is haunted and the girl will fall down and lose consciousness while trying to escape the clutches of some mad scientist, werewolf, ghost, lesbian vampire, suave poisoner, flesh eating plant, lonely abductor, non-rhotic cannibal etc etc etc. It's known as KITSCH. Silence of the Lambs, KITSCH INCARNATE, simply switched the Bach score but the game is still the same.</font><font style="font-size: 16pt;" face="Times New Roman" size="4"><br></font><font style="font-size: 16pt;" face="Times New Roman" size="4"> What I would like to know is how exactly does music copyright operate and who gave permission for the too many seconds of Gould's inimitable recording to be aired in a film that Gould himself would have found repugnant on all accounts? Lambs or no lambs, noone can doubt this.</font><font style="font-size: 16pt;" face="Times New Roman" size="4"><br></font><font style="font-size: 16pt;" face="Times New Roman" size="4"><br></font><font style="font-size: 16pt;" face="Times New Roman" size="4">Mary Jensen</font><font style="font-size: 16pt;" face="Times New Roman" size="4"> </font> <br><hr id="stopSpelling"><br> </body>
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