daslied

You talk purty. I agree 100%.

I can say this, since I live in South Carolina. There was never any doubt who would win here. I am slightly proud that it was as close as it was.

Joe and Marc, you should be ashamed. A man died. Get your minds out of the gutter.

I know. It was more of a general Bambi reference. Stop peeing in my corn flakes.

You certainly don't want to get into a Thumper with a deer - it'd be all "Bam! Beep! Whoa, I hit my head and feel a little Disney..." Crack kills.

For that age? Probably Blender.

The Wiggles.

1. When Your Mind's Made Up - Glen Hansard and Markéta Irglová (1996) 2. Electioneering - Radiohead (1997) 3. Sister Rosetta (Capture The Spirit) - Noisettes (2007) 4. Fa Fa Fa Fa Fa (Sad Song) - Otis Redding (1966) 5. I Only Have Eyes For You - The Flamingos (1959) 6. Got To Get You Into My Life - Earth, Wind & Fire (1977) 7. Rottweillers - Nerve Rack (1991) 8. Out Of My Head - Fastball (1998) 9. Possession - Sarah MacLachlan (1993) 10. TV Star - The Butthole Surfers (1996)

Glen Hansard & Marketa Irglova "When Your Mind's Made Up" http://www.youtube.com/watch?v=0k_Pe_iNYO4 Noisettes "Sister Rosetta" http://www.youtube.com/watch?v=yGLYNtqGuyQ

"Internet Explorer cannot display the webpage" She broke the internet?

I used my expensive recording software to create myself a custom ringtone of (Young) Dr. Frankenstein and his monster singing "Puttin' On The Ritz". A year later I still laugh each time. Before that I had "I've got a special purpose!" from "The Jerk" and "Well, sometimes I get the menstrual cramps real hard" from "Raisin' Arizona". I giggled far too much to keep them, though.

Why not. I use: G&L ASAT Classic tele G&L Legacy Strat Ibanez Artstar 335 ca. 1950s Fender Lap Steel Line 6 Variax Yamaha APX10 acoustic Washburn nylon string Fender DeVille 60-watt Line 6 Flextone III XL Sovtek Big Muff Pi MXR Phase 90 Boss EQ Digitech Whammy Modtone Distortion Modtone Analog Delay Danelectro Tremelo Ernie Ball Volume Vox Wah Ebow Laying around for recording: 1942 Wurlitzer Spinet Piano trumpet violin banjo ukelele flute Squier Jazz bass Recording: Cubase 4 Wavelab MTron Waves plugins Tons of other plugins Rode NT1-A condenser ART tube preamp assorted SM57s and Sm58s I love, love the Modtone pedals. I'd never heard of them, but they're really, really cool. I bought the Whammy pedal during a Tom Morello fascination 15 years ago, but only recently starting using it to make all sorts of cool noise.

Bazooka - The Palace of the LOH was absolutely my favorite part. The wind, the water, the hills, the fog, the view...the Holocaust Memorial, the glass sculpture in the front...As far as a collection and setting it doesn't get any better.

So, does that work?

Your last sentence is sort of correct, though ASCAP collects essentially for broadcast. Individual publishers collect for movie/tv use, etc. In my case, and those of people like me (read: unknown), I'm the publisher. But if I was say, John Lennon, Sony is my publisher. I tell them "Do whatever you want" or "Here's what I'll allow and won't allow". They receive the license requests and act per our agreement. A publisher can be protection for the uninformed or a convenience for the uninterested. But Sony doesn't want anything to do with the little people unless they can guarantee a respectable amount of income. Lots of artist/writers, especially decades ago, got screwed because they didn't know that part of their exciting new record contract was handing over the publishing rights. Paul McCartney wouldn't be anywhere as rich as he is if he hadn't established MPL Communications, through which he has purchased the Buddy Holly catalog, "Unchained Melody", songs from "Grease", etc. Sony and Michael Jackson make the money from the Beatles catalog. Someone like Bruce Springsteen is fiercely protective of his songs, and he owns his own publishing company - you deal with someone in his personal office. Eddie Vedder's lawyer is so litigious that he will try to sue someone for songs Eddie didn't even write (he did that with the "Last Kiss" cover from a few years ago.) Don Henley is the same way. On the other hand, Stevie Wonder doesn't care, which makes him even cooler. Whoa, that was excessive...

I don't know if that's the best term for them. If my song gets played on the radio, ASCAP collects the royalty from the broadcaster on my behalf for a small fee. They can't approve my song for use in a movie or anything - that's my publishing company's job. It's different from an agency like Harry Fox, who can approve usage based on the agreement I have with them. If a song samples my song, HFA has the authority (on my behalf) to grant the mechanical license. They collect the money and then pay me, minus the administrative fee.

I'm an ASCAP member, so I'm fairly well-versed in what they do. They can't issue copyrights. They're essentially a middleman between the composer and the person interested in licensing the composition - they let the licensee find the licensor.

No, but I decked a guy that did.

I took a vacation there a few months ago and fell in love with it. Make sure and drive down the coast to Monterey, and just south of it (I think) is Point Lobos State Reserve, which was described as (paraphrase) "the most perfect meeting of land and water". Something like that, anyway...

ASCAP will merely collect your royalties for you - registering a song there does not equal a copyright.

You guys are too kind.

Happy Birthday, Lucky!

Happy Birthday, Joe!!