Page 14 of 20 FirstFirst ... 910111213141516171819 ... LastLast
Results 391 to 420 of 571

Thread: Articles 2.0

  1. #391
    Chest Rockwell Gribbz's Avatar
    Join Date
    Dec 2008
    Location
    ATX
    Posts
    19,884

    Default Re: Articles 2.0

    Quote Originally Posted by Hannahrain View Post
    Too much chlorine in that gene pool.

    Boris - 7/29 - The Mohawk
    NIN/Soundgarden/ - 8/14 - Austin 360
    Woods - 8/20 - Holy Mountain
    Jamie xx - 8/27 - The Mohawk
    Little Dragon - 8/31 - Moody Theater
    Ty Segall - 9/5 - The Mohawk
    Seth Troxler - 9/5 - Vulcan Gas Company
    Black Lips/King Khan & BBQ Show - 9/12 - J. Lorraine Ghost Town

  2. #392
    LOLocaust Survivor Hannahrain's Avatar
    Join Date
    Feb 2007
    Location
    stately Rain Manor
    Posts
    17,455

    Default Re: Articles 2.0

    The animals are dying.

  3. #393
    Chest Rockwell Gribbz's Avatar
    Join Date
    Dec 2008
    Location
    ATX
    Posts
    19,884

    Default Re: Articles 2.0

    Lies fabricated by the liberal media.

    Boris - 7/29 - The Mohawk
    NIN/Soundgarden/ - 8/14 - Austin 360
    Woods - 8/20 - Holy Mountain
    Jamie xx - 8/27 - The Mohawk
    Little Dragon - 8/31 - Moody Theater
    Ty Segall - 9/5 - The Mohawk
    Seth Troxler - 9/5 - Vulcan Gas Company
    Black Lips/King Khan & BBQ Show - 9/12 - J. Lorraine Ghost Town

  4. #394
    thestripe
    Guest

    Default Re: Articles 2.0

    Hannah, why do you have a Monklish in your name?

  5. #395
    LOLocaust Survivor Hannahrain's Avatar
    Join Date
    Feb 2007
    Location
    stately Rain Manor
    Posts
    17,455

    Default Re: Articles 2.0

    I've no idea what you're talking about.

  6. #396
    thestripe
    Guest

    Default Re: Articles 2.0

    Wait....what?

  7. #397
    Coachella Junkie
    Join Date
    Jan 2007
    Posts
    13,133

    Default Re: Articles 2.0

    Woman Tells Off Dave Chappelle, He Responds By Calling Her "Titties" "Real"

    http://sfist.com/2010/03/04/woman_te...pelle_he_r.php

  8. #398
    Banned marooko's Avatar
    Join Date
    May 2007
    Location
    In your mouth!
    Posts
    19,687

    Default Re: Articles 2.0

    Disputed isle in Bay of Bengal disappears into sea
    AP



    By NIRMALA GEORGE, Associated Press Writer Nirmala George, Associated Press Writer – Wed Mar 24, 9:29 am ET

    NEW DELHI – For nearly 30 years, India and Bangladesh have argued over control of a tiny rock island in the Bay of Bengal. Now rising sea levels have resolved the dispute for them: the island's gone.

    New Moore Island in the Sunderbans has been completely submerged, said oceanographer Sugata Hazra, a professor at Jadavpur University in Calcutta. Its disappearance has been confirmed by satellite imagery and sea patrols, he said.

    "What these two countries could not achieve from years of talking, has been resolved by global warming," said Hazra.

    Scientists at the School of Oceanographic Studies at the university have noted an alarming increase in the rate at which sea levels have risen over the past decade in the Bay of Bengal.

    Until 2000, the sea levels rose about 3 millimeters (0.12 inches) a year, but over the last decade they have been rising about 5 millimeters (0.2 inches) annually, he said.

    Another nearby island, Lohachara, was submerged in 1996, forcing its inhabitants to move to the mainland, while almost half the land of Ghoramara island was underwater, he said. At least 10 other islands in the area were at risk as well, Hazra said.

    "We will have ever larger numbers of people displaced from the Sunderbans as more island areas come under water," he said.

    Bangladesh, a low-lying delta nation of 150 million people, is one of the countries worst-affected by global warming. Officials estimate 18 percent of Bangladesh's coastal area will be underwater and 20 million people will be displaced if sea levels rise 1 meter (3.3 feet) by 2050 as projected by some climate models.

    India and Bangladesh both claimed the empty New Moore Island, which is about 3.5 kilometers (2 miles) long and 3 kilometers (1.5 miles) wide. Bangladesh referred to the island as South Talpatti.

    There were no permanent structures on New Moore, but India sent some paramilitary soldiers to its rocky shores in 1981 to hoist its national flag.

    The demarcation of the maritime boundary — and who controls the remaining islands — remains an open issue between the two South Asian neighbors, despite the disappearance of New Moore, said an official in India's foreign ministry, who spoke on condition of anonymity because he was not authorized to speak on international disputes.

    Bangladesh officials were not available for comment Wednesday.


    http://news.yahoo.com/s/ap/20100324/...pearing_island



    Some say the end is near.
    Some say we'll see armageddon soon.
    I certainly hope we will.
    I sure could use a vacation from this
    Bullshit three ring circus sideshow of
    Freaks
    Here in this hopeless fucking hole we call LA
    The only way to fix it is to flush it all away.
    Any fucking time. Any fucking day.
    Learn to swim, I'll see you down in Arizona bay.

    Fret for your figure and
    Fret for your latte and
    Fret for your lawsuit and
    Fret for your hairpiece and
    Fret for your prozac and
    Fret for your pilot and
    Fret for your contract and
    Fret for your car.
    It's a
    Bullshit three ring circus sideshow of
    Freaks
    Here in this hopeless fucking hole we call LA
    The only way to fix it is to flush it all away.
    Any fucking time. Any fucking day.
    Learn to swim, I'll see you down in Arizona bay.

    Some say a comet will fall from the sky.
    Followed by meteor showers and tidal waves.
    Followed by faultlines that cannot sit still.
    Followed by millions of dumbfounded dipshits.
    Some say the end is near.
    Some say we'll see armageddon soon.
    I certainly hope we will.
    I sure could use a vacation from this
    Stupid shit, silly shit, stupid shit.
    One great big festering neon distraction,
    I've a suggestion to keep you all occupied.
    Learn to swim x3.
    Mom's gonna fix it all soon.
    Mom's comin' round to put it back the way it ought to be.

    Learn to swim x8.
    Fuck L Ron Hubbard and
    Fuck all his clones.
    Fuck all those gun-toting
    Hip gangster wannabes.
    Learn to swim x8.
    Fuck retro anything.
    Fuck your tattoos.
    Fuck all you junkies and
    Fuck your short memory.
    Learn to swim x7.
    Fuck smiley glad-hands
    With hidden agendas.
    Fuck these dysfunctional,
    Insecure actresses.
    Learn to swim x8.

    'cause I'm praying for rain
    And I'm praying for tidal waves
    I wanna see the ground give way.
    I wanna watch it all go down.
    Mom please flush it all away.
    I wanna see it go right in and down.
    I wanna watch it go right in.
    Watch you flush it all away.

    Time to bring it down again.
    Don't just call me pessimist.
    Try and read between the lines.
    I can't imagine why you wouldn't
    Welcome any change, my friend.
    I wanna see it all come down.
    Put it down.
    Suck it down.
    Flush it down.

  9. #399
    Coachella Junkie fatbastard's Avatar
    Join Date
    Nov 2006
    Location
    Pasadena
    Posts
    12,258

    Default Re: Articles 2.0

    Dance music finds growing audience in India


    By Richard Smirke and Ahir Bhairab Borthakur Richard Smirke And Ahir Bhairab Borthakur Wed May 5, 11:43 pm ET



    LONDON/BANGALORE, India (Billboard) – On a typical midweek evening in Bangalore, India, club Pebble, stylish young Indian professionals relax quietly over post-work drinks. But every weekend, they're replaced by a flood of fans hungry to hear some of the world's leading DJs deliver the hottest dance hits.

    In India's major cities, a new circuit of clubs in upscale hotels and shopping malls -- ranging from the 1,000-capacity Pebble to 4,000-capacity Elevate in Delhi -- is pulling in top international and domestic dance talent.

    Just five years ago, India's dance music scene was a niche market centered on backpackers' haven Goa. Now, "there are club nights in every big city in India," says Toni Tambourine, press and public relations manager for dance label Defected in London. Defected regularly hosts club nights throughout India and last year released mix album "Defected in the House -- Goa '09" through Sony Music India.

    The scene's expansion is mirrored by Goa's three-day Sunburn dance festival, which has grown from 6,000 attendees at its inaugural event in 2007 to more than 20,000 last year, according to organizer PDM Entertainment. Sunburn 2009 (December 27-29) featured international DJs like Roger Sanchez and Armin Van Buuren, with an audience that PDM says consisted of 90 percent Indian fans and 10 percent overseas tourists.

    BEYOND THE DANCE FLOOR

    Such popularity is translating into music sales. Dutch DJ Tiesto's local label Times Music, for example, says his 2007 album "Elements of Life" has sold more than 22,000 units -- on par with the biggest Western pop/R&B acts in India's Bollywood-dominated market.

    Bollywood soundtracks' absorption of dance music elements has also "accelerated its popularity," says DJ Ma Faiza, founder of Pune-based dance label Masti Music.

    During the past five years, soundtracks to major Bollywood films like "Love Aj Kal" and "Chance Pe Dance" have begun adding club-friendly dance remixes of two or three tracks. "Bollywood is mixing electronic sounds with Indian music and producing some great songs," Bollywood singer-songwriter Salim Merchant says.

    Tambourine also cites India's emerging middle class and its increasing online access to Western music for helping boost dance's popularity.

    British DJ Paul Oakenfold agrees, saying, "There's a lot of young kids that have got money and want what's going on around the rest of the world." Oakenfold, who's been playing in India regularly since the mid-'90s, says the crowds are growing and he's "getting a lot of options" to return.

    But Indian dates can present challenges. With DJ fees in India typically lower than for European and U.S. dates, national bookings need to be tightly packaged together to keep costs down, and shows must have sponsorships "in order to work financially," says Gareth Cooke, events booker at dance label/promoter Ministry of Sound in London.

    Accessing the Indian market has also proved problematic for some Western companies. Ministry of Sound's first Indian club, in New Delhi, closed in November 2007 after less than a year following a dispute over license fees with local partners, but Cooke says a return to club operation in India is "always a possibility." U.K. dance festival the Big Chill also has yet to return since staging a 2007 event in Goa.

    Nonetheless, executives remain confident of further growth. This year's third annual Indian leg of the Ministry of Sound world tour (featuring DJs Jamie Williams and Ivan) consisted of six shows in seven days, wrapping April 11. Sponsors included liquor company Seagram and Danish beer brand Tuborg.

    "Youth culture in India is very receptive to new stuff, especially Western music," Tambourine says. "It's an untapped market with huge, huge potential."
    Whiskey Sour

    2 oz blended whiskey
    Juice of 1/2 lemon
    1/2 tsp powdered sugar
    1 cherry
    1/2 slice lemon

    Shake blended whiskey, juice of lemon, and powdered sugar with ice and strain into a whiskey sour glass. Decorate with the half-slice of lemon, top with the cherry, and serve.

  10. #400
    Member OnlyNonStranger's Avatar
    Join Date
    Apr 2007
    Location
    Calgary, AB
    Posts
    2,423

    Default Re: Articles 2.0

    That's the video from Ghost World. I approve.

  11. #401
    LOLocaust Survivor Hannahrain's Avatar
    Join Date
    Feb 2007
    Location
    stately Rain Manor
    Posts
    17,455

    Default Re: Articles 2.0

    Also, your face really can get stuck like that.



    MASSACHUSETTS - An unusual and rather surprising diagnosis for a Massachusetts man after he sought medical help while having more trouble than usual breathing.

    Ron Sveden was already suffering from emphysema. But he started to worry that he had also developed cancer. He was rushed to the hospital on Memorial Day after he couldn't catch his breath.

    Doctors discovered his left lung had collapsed - but he didn't have cancer. Instead they found a pea pod had sprouted in his lung.

    "God has such a sense of humor,” his wife said.” I mean, it could have been just nothing, but it had to be a pea, and it had to be sprouting."

    Doctors think he ate a pea couple of months ago and it went down the wrong way, and then began to grow.

    He is scheduled to have surgery to remove the plant.
    http://www.katu.com/news/national/100449269.html

  12. #402
    Coachella Junkie fatbastard's Avatar
    Join Date
    Nov 2006
    Location
    Pasadena
    Posts
    12,258

    Default Re: Articles 2.0

    August 6, 2010
    The Music-Copyright Enforcers
    By JOHN BOWE
    Few things can make Devon Baker cry.

    There was the time her pet hamster, Herschel, died. There was the time she was run over by a car. Neither episode provoked tears. Not even close. And yet, on a recent Thursday, as Baker drove down Highway 60, about 55 miles northwest of Phoenix, she had to wonder, Is today one of those days when I’m gonna cry?

    Baker, who has preternaturally white teeth, green eyes, soft brown hair and a friendly way that she’s the first to describe as “country,” was on her once-a-month, weeklong road trip. She’d flown to Phoenix to meet with bar and restaurant owners to discuss a rather straightforward business proposal. Off she went on her rounds each day, navigating with a special Microsoft Streets and Trips plan she prepared in advance, with 60 to 80 venues marked with dots, triangles or blue squares, according to size, dollar value and priority, wearing her company badge with photo ID, hoping for a little friendly discussion. Except it didn’t always work out so friendly.

    Once, a venue owner exploded, kicked her off his property and told her, as she recalled, “to get the bleep outta here.” Another hissed at her that she was “nothing more than a vulture that flew over and came down and ate up all of the little people.” It wasn’t fun. It was just the sort of thing, in fact, that could bring Devon Baker to tears.

    Baker, 30, is a licensing executive with Broadcast Music Incorporated, otherwise known as BMI. The firm is a P.R.O., or performing rights organization; P.R.O.’s license the music of the songwriters and music publishers they represent, collecting royalties whenever that music is played in a public setting. Which means that if you buy a CD by, say, Ryan Adams, or download one of his songs from iTunes, and play it at your family reunion, even if 500 people come, you owe nothing. But if you play it at a restaurant you own, then you must pay for the right to harness Adams’s creativity to earn money for yourself. Which leaves you with three choices: you can track down Ryan Adams, make a deal with him and pay him directly; you can pay a licensing fee to the P.R.O. that represents him — in this case, BMI; or you can ignore the issue altogether and hope not to get caught.

    P.R.O.’s like BMI spend much of their energy negotiating licenses with the biggest users of music — radio stations, TV and cable networks, film studios, streaming Internet music sites and so on. But a significant portion of BMI’s business is to “educate” and charge — by phone and in person — the hundreds of thousands of businesses across America that don’t know or don’t care to know that they have to pay for the music they use. Besides the more obvious locales like bars and nightclubs, the list of such venues includes: funeral parlors, grocery stores, sports arenas, fitness centers, retirement homes — tens of thousands of businesses, playing a collective many billions of songs per year.

    Most Americans have no problem with BMI charging for its music — except when they do. As Richard Conlon, a vice president at BMI in charge of new media, put it: “A few years back, we had Penn, Schoen and Berland, Hillary’s pollster guys, do a study. The idea was, go and find out what Americans really think about copyright. Do songwriters deserve to be paid? Absolutely! The numbers were enormously favorable — like, 85 percent. The poll asked, ‘If there was a party that wasn’t compensating songwriters, do you think that would be wrong?’ And the answer was, ‘Yes!’ So then, everything’s fine, right? Wrong. Because when it came time to ask people to part with their shekels, it was like: ‘Eww. You want me to pay?’ ”

    The day I accompanied her on her rounds, Baker was four days into her trip, on her way to Coyote Flats Cafe and Bar in the hamlet of Aguila. As we drove along Highway 60, the sunlight glared, hawks circled and the temperature was 100 degrees. Saguaro cactuses stood 30, 40-feet tall, stiffly riding up the foothills like porcupine quills. Baker mused about a picture she found online while researching the business. It depicted Coyote Flats’s owner, Dorene Ross, posing with her husband, Jim, for The Arizona Republic. There they were standing behind the cafe counter, she with a .380 Firestorm, he with a 9-millimeter Smith and Wesson. The article was about the lengths they were willing to go to defend their business from local thieves. It wasn’t exactly auspicious, given the volatile nature of Baker’s client interactions.

    There was, for example, the gentleman at a Kentucky RV resort who told her on the phone that he was going to come into her office and “spray her down” with a machine gun. Then there was the female punk-rock-club owner in Colorado who ripped up Baker’s licensing agreement, ordered her out of the club, followed her out the door, spit a huge goober on the paperwork and stuck it to Baker’s windshield.

    Not every experience is awful, she pointed out. She once signed an adult-club licensing agreement on the dance floor, beneath the strippers’ poles — and the strippers themselves, as they danced; it couldn’t have been more pleasant. Not long ago, she visited a manager for a health care chain and walked out half an hour later after a congenial sit-down with a signed agreement and a check for five figures.

    But it was tough going sometimes, and these positive experiences were all too rare. “I actually had a guy that I called the other day,” Baker told me, “and when I asked when he might be sending in his check, he said: ‘I don’t know, why don’t you call Obama? Ask him! He runs everything now.’ So, I put that in my notes, ‘Client referred me to president of United States.’ ” Then there was the colleague of Baker’s who got a letter saying, “Eat you-know-what and die.” When she replied to the client, she got another letter, asking, “What part of eat you-know-what and die don’t you understand?”

    During her five years with BMI — on trips to Texas, Ohio, Florida, Washington — Baker has learned a lot: managers of adult clubs tend to be polite. People who run coffee shops tend to be difficult. Skating rinks are a pain – they have the longest outgoing messages in the world. Casinos owned by Indian tribes are tough. Every decision goes to the tribal council, and it can take forever. Arts and crafts festivals, forget it; creative types never have any money. (“You’d think they’d get it,” Baker said, “But . . . .” She waved her hand.) The most important rule of the road, however, is never — Baker looked me in the eye — eat in the venue, even if they invite you. Because God only knows what they might put in your food.

    Performing rights organizations in the United States came into being in 1914, when a group of musicians, including Victor Herbert, Jerome Kern, Irving Berlin and John Philip Sousa, founded the American Society of Composers, Authors and Publishers, otherwise known as ASCAP, the nation’s first P.R.O., in 1914. It was formed in response to a 1909 amendment to United States copyright law that explicitly provided for performance rights as opposed to mechanical rights (paid to a performer who plays a song, regardless of who wrote it) or sync rights (music synchronized to pictures). The law — and ASCAP — were given new force when Herbert, then a celebrity composer for Broadway, sued a New York restaurant called Shanley’s after hearing one of his compositions performed there. The case took a couple of years to wind through the courts, but in the end, Supreme Court Justice Oliver Wendell Holmes decided for Herbert. “If music did not pay, it would be given up,” Holmes wrote. “Whether it pays or not, the purpose of employing it is profit and that is enough.”

    In 1939, radio broadcasters, irked at paying royalties set by ASCAP, which was then a monopoly, founded their own P.R.O., BMI. This they did by rounding up the many songwriters excluded from ASCAP’s umbrella: “race musicians,” toiling away in the déclassé genres of jazz, country, blues and, later, rock ’n’ roll. Today, BMI represents some 400,000 songwriters (ASCAP has 390,000, many of whom are from those formerly déclassé genres), including Willie Nelson, Dave Brubeck, Keith Urban, Lady Gaga, the Beach Boys, Taylor Swift, the Red Hot Chili Peppers, Café Tacuba, Kanye West, Shakira, Linkin Park, Mariah Carey, Sheryl Crow and Kid Rock. The songs and compositions written by BMI signatories number some seven million tunes — about half the music in America — and bring in close to a billion dollars per year, which is distributed to its artists in quarterly royalty checks. For antitrust reasons BMI operates (as does ASCAP) by consent decree from the Department of Justice. It is privately owned but chartered to operate as a not-for-profit, to guarantee the maximum possible return to its songwriters and publishers (in 2010, it retained 11.6 percent of royalties collected for administrative costs).

    In the past, BMI had 14 regional offices around the country, with field agents reading local newspapers and scouring the land on foot and by car, ever on the lookout for new bars and restaurants or old ones that aren’t paying for their music. Now those offices are closed, and employees like Devon Baker do much of their work by phone from headquarters in Nashville. But with the Internet, it has never been easier to keep tabs on the nation’s businesses*. Venues advertise online which nights they offer live music or karaoke; state governments post liquor-license and corporate registries that give the names and addresses of business owners.

    Once contacted by BMI, owners are given a worksheet. Does their venue use a radio, CD players, karaoke machine? Do they feature live music? If so, how often? How many people can the venue legally hold? For smaller businesses with low capacity that don’t make much use of music, a license may be as little as $300 a year. For really big operators, the cost might be as much as $9,000 per location per year, the maximum BMI is permitted to charge a single customer. (The fees are distributed to artists based on what BMI calls “an appropriate surrogate” — local radio or TV — that reflects a sampling of bars and restaurants in the area.) All in all, the division Devon Baker works for, General Licensing, accounts for 11 percent of BMI’s revenue.

    According to Conlon, the struggles that Devon Baker faces on the road are emblematic of the difficulties faced by P.R.O.’s as a whole. “The dance that happens between the salesperson and a reluctant nightclub owner,” he says, “is the same dance that happens all the way up the food chain, to the New York boardrooms of the biggest media companies in the world. Where the bar owner might have a shotgun and a dog and say, Beat it! Go away or I’ll shoot you in the head, the more sophisticated iteration is done with teams of lawyers, pitted against each other, quibbling over niceties of copyright law.” The battles can be fierce — and the outcome uncertain. When ASCAP sued Verizon, claiming it was owed additional royalties on ringtones for which Verizon had already paid a licensing fee, it lost. But when Weigel Broadcasting Company challenged the license rates for two local stations as excessive, they lost and had to pay BMI $1.4 million in back fees. “The arguments don’t change,” Conlon continued. “No one’s an eager purchaser. People do believe in copyright. But the tensions in making that money flow are universal and constant. They don’t want to pay!”

    Devon Baker works alongside about 24 other licensing executives on the fifth floor of an office in Nashville, where most of BMI’s 600 employees are based. It looks, at first blush, like any province in cubicle land. Except the men are all in ties. Facial hair, tattoos, but ties. It’s a throwback, a stipulation from a former president and C.E.O., Frances Preston, that all male BMI representatives respect the line between artists and their representatives. Artists make music; BMI representatives handle money.

    Collectively, Baker and her colleagues make about a million calls a year. Most of these are repeats, a fact that gets at the firm’s peculiar, slow-boil form of suasion. Rather than initiating legal action, BMI and other P.R.O.’s prefer a kill-them-with-patience approach that can take dozens of phone calls, letters and as long as 10 years.

    One afternoon, I sat with Baker at her cubicle. Besides pictures of her fiancé, Mike, and her nieces, she also has a smiley-face chart. Her boss made it up for all the licensing executives, to remind them that their moods and their tones will determine their success. The chart is like a traffic light. There’s a green smiley face, a straight face in yellow, then a face in red, frowning. “You never wanna be on the red,” Baker said.

    Baker’s computer, which runs on proprietary software, dialed an adult club in Maryland. BMI, she told me, had been pursuing the owner for four years. Over this time, he claimed that the club had no cover charge, that his staff never put money in the jukebox and that there was no drink minimum. *“Which I guess we found is not the case,” Baker said, smiling, referring to a part-time field agent who was unable to corroborate the owner’s claims. Baker straightened her headset. “I hope we get him on the phone.”

    He answered. Baker informed him that his previous excuses didn’t hold water. After some squirming, he announced that from now on, he just wouldn’t use BMI’s music — only ASCAP’s: he was going to remove every BMI song from every karaoke machine, CD and iPod mix that would ever be played in his club. Right. Baker made a note to check back. A few hours later the owner called to say he’d pay.

    Next, she tried to track down a Utah restaurant owner who has never had the money — he says — to pay for a license. Meanwhile, his business has grown from three restaurants to seven. She then called a Mexican restaurant in Georgia. Very polite — but the owner was not around. Because the owner was never around. Finally, she called a bar owner in Massachusetts. He sounded down on his luck; he said he understood the idea of music rights, and in fact, used to play in bands and even wrote a few songs himself. But unfortunately, he had no money. Baker made a note to call back.

    The excuses fell like rain. On the road, Baker’s client-management software offers her a list of common excuses — 24 in all — to keep track of what she’s told. But in the end, she knows it’s a game, a game she’s going to win. Because after all the phone calls, letters and visits, she possesses a secret weapon: the law. Whether or not a music user believes copyright infringement is a big deal, violators face fines of anywhere from $750 to $150,000 per song. If after several years, a violator refuses to back down, Baker ups the ante and sends what is known in-house as “the Larry Stevens letter,” named after one of Baker’s bosses, informing them that their case is being referred to BMI’s lawyers. Most but not all cases are settled out of court. That’s because in 51 years, BMI has never lost a single case it has tried.

    Being a BMI licensing exec is one of the hardest jobs a person can have, Mike O’Neill, senior vice president of repertoire and licensing, told me. “It’s different from other industries and sales situations,” O’Neill said. “Clients aren’t deciding whether to pay you so you can send them your product. They’ve already got it.”

    We have a hard time paying for music, says O’Neill, because most of us grew up listening to it on the radio. It was free then. Shouldn’t it be free now? Of course, music on the radio was, in fact, not free. Radio stations paid licensing fees to BMI and ASCAP and paid for those fees by airing commercials, which took up some 20 percent of airtime. The Internet allows users to download tunes, often without paying for them, avoid annoying commercials and play a song whenever they wish. The ease with which music can be had has contributed enormously to the notion that it’s there for the taking. In 2008, 40 billion songs were downloaded illegally. It is estimated that 95 percent of music tracks are downloaded without payment to the artist or the music company that produced them. Peer-to-peer (P2P) file swapping of movies and music currently accounts for up to 80 percent of Internet traffic. Music sales among American record labels in 2010 are about 42 percent of what they were a decade ago. As an industry report from January of this year states, “A generation of young music fans is growing up with the expectation that music should be instantly available, with near-limitless choice and access and, of course, free.”

    Many musicians have coped with downloading by focusing on touring. They have learned to consider their recorded output, formerly their bread and butter, as a form of promotion for live shows. But the rise of musical genres, like northern Brazil’s “tecno brega” (“cheesy techno”), which remixes and reworks popular songs, offers another, more direct challenge to who should be paid when music is recorded or performed. The producers give away their mixes, so there’s no copyright infringement, then make their money by staging dance parties, to which admission is charged. In the States, producers like Danger Mouse and Girl Talk have created mash-ups of marquee copyrighted material, like Beatles songs, then released them to the general public free, daring authorities to charge them.

    Most well-known songwriters are reluctant to advocate publicly for copyright law, out of fear of alienating fans. Dolly Parton is not one of them. “Ain’t nobody got so much money they don’t want all the money that’s coming to them,” she said when I spoke to her recently. Rank-and-file songwriters, whose livelihood can depend desperately on their BMI royalties, are the most likely to express sentiments similar to Parton’s. One day, I visited a Los Angeles DJ and electronica composer named Alex Amato. Amato, as it happens, lives in a converted barn near Vine and Santa Monica that, he said, belonged to the filmmaker Kenneth Anger. Under the name Genuine Childs, Amato composes music with his twin brother, Anthony, which they’ve sold to reality shows like MTV’s “Real World” and “Road Rules.” They’ve also composed DVD menu page music for several big studio releases like “Scarface” and “The Bourne Identity.” It’s a rarefied niche, but Amato seems happy: his music reaches millions of listeners.

    Amato also waits on tables and manages a restaurant near his house. His quarterly BMI checks, he insists, are the key to survival. “It’s like my magical Willy Wonka ticket,” he says. Creating music, Amato points out, costs money. It takes money to rent a space, buy equipment, run the equipment. How does music get made if everything suddenly becomes free?

    “There are more people listening to music now than ever before,” he told me. “But because of this new kind of accessibility, people feel like they don’t have to pay. Why is that? Why does constructor Joe get to build a house, and he gets paid the same as before, but suddenly, there’s this judgment about this one way of earning a living?”

    It is worth noting that during the years the recording industry lost nearly 60 percent of its income, BMI and its competitor ASCAP had steady increases in profits. BMI has done so by going after how people use music commercially, regardless of medium. As the president and chief executive of BMI, Del Bryant, likes to say, “You have to be in the future a little bit.”

    In BMI’s case, this has meant leapfrogging from AM radio to FM, from movies to cable to digital radio to streaming to (once-illegal) downloading companies like Napster. (BMI began working on a deal with Napster about streaming music even before it sorted out its legitimacy.) They also signed with Rhapsody, the online streaming site, when the company was in its infancy. The trick, says Bryant, is to understand the content world as an ecosystem. When a new player comes along, don’t kill it, make a deal with it. With each new medium, he says: “We made agreements that weren’t that heavily monetized, and not that heavily binding because we didn’t know if it’d be around for long or how it would evolve. They were place keepers, ways to get us working together. And they slowly solidified. It’s all a question of pricing. The system has to serve everyone’s purposes.”

    Richard Conlon echoed what Del Bryant said. “We’re not about shutting things down.” he told me. “We’re about nurturing markets. We don’t want people NOT to use it. We know the market is fractionalizing. You wanna take our music and stream it and have electronic whatevers that play when you stick a chip into something or somebody? Go ahead! Do it! Just pay us!”

    BMI is rosy about the future. According to Conlon, who spends a lot of time watching how 8-to-15-year-olds use technology, downloading is out, streaming is in. And guess what? Streaming pays — just like radio. Legally the climate is good too. In May, a federal court found LimeWire, one of the few remaining big free peer-to-peer file-sharing services, guilty of inducing copyright infringement. The company could be fined as much as a billion dollars.

    While the rest of the content world worries that technology will be the end of content, P.R.O.’s are banking that technology will save it. BMI has developed a system called Blue Arrow that deploys the same technology as iPhone’s Shazam to identify music. (ASCAP uses a similar system called Mediaguide.) These systems can listen to Internet sites, as well as radio and TV stations around the world and identify, in two seconds, virtually any piece of music being played — not just American, but Turkish, Arabic, Chinese, Korean, Latin, Japanese and so on. The Blue Arrow database has a capacity of 500 terabytes (one thousand gigabytes each) of music, and can recognize eight million songs. About 3,000 new songs are added each day.

    David DeBusk, who was vice president of business development when I met him this spring but has since left BMI, offered to show me how Blue Arrow works. An employee punched a few keys to find out which radio stations in Germany were playing “schlager music,” a bizarrely kitschy form of country pop. One tap of the keyboard, and we were listening live: Oom pah pah, oom pah pah. We went on to display all stations, worldwide, playing Swedish death metal. Did I want to see which ones were playing compositions by the composer Milton Babbitt? How about radio stations in Laos?

    In the old days, P.R.O.’s relied mainly on playlists from radio stations and queue sheets from TV networks to figure out which songs were broadcast each month. Queue sheets were quite precise, listing every song a station broadcast, but playlists were, at best, a sample, an attempt to track the bulk of what got played. With Blue Arrow, however, it is possible to count every song played by a representative sampling of 400 radio stations across the country. Under the old system, hit-makers tended to dominate the machinery of royalty collection and distribution. Now, the “long tail” can be more effectively monetized: writers with minor hits, older hits, songs played here and there.

    When DeBusk and his team began to hear the world through Blue Arrow’s ears, one thing they noticed was the number of “nonsong performances.” Everyone knows that rap music relies on sampled music, some of which should be paid for and isn’t. What surprised DeBusk was how common it was for copyrighted bits of music to be used free in jingles, as station-identification ditties and background music. DeBusk pulled up a screen detailing a list of nonsongs with generic names like “Graceful Power” and “Happy Days.” Such compositions, he said, are known as “production music,” written for ads and station identifications or for TV documentaries, and then sold to music libraries. If producers are looking for something that, say, sounds like boogie woogie or bebop, they go to a music library, listen to a few samples and purchase one.

    One click with Blue Arrow and we knew that “Happy Days” was broadcast at five different times that morning on networks in the Southeast. Another click determined that it was used in a commercial for Country Crock margarine. Yet another click located its source: a music library in Atlanta. A few more key punches, and you knew if the library got their fee.

    It was an awesome (or chilling) glimpse into the future: a world where if it can be tracked — on TV, on YouTube, in China — it will be charged for. Lawrence Lessig, a Harvard law professor known for his stance against what he views as an overexpansion of copyright law, is not against BMI’s being paid for its fair share but worries about the slippery slope created by new technologies. “If technology creates efficient ways to charge commercial users of copyright, then that’s good,” he told me recently, “but what I fear is that we evolve into a permission culture, where every single use of music creates an obligation to pay. I wish the line could be as clear as commercial exploitation — you’re running a dance club, using it in a movie. The author ought to have the right to be paid for that. But I don’t think that that right should translate into the right to control whether my kid uses the music for a collage he makes for a class about his trip to Costa Rica!” Friends I talked to had a similar reaction. To a one, they said: “Jesus. Sounds like Big Brother.” When I mentioned this to DeBusk, he smiled ominously. “Yes. Well. We’re here to help.”

    On the road, in Arizona, Devon Baker prepared to arrive in Aguila. More of an outpost than a town, Aguila comprised little more than a gas station, a bar catering to Mexican farmworkers, a small grocery store and a wind-and-sand-bitten motel. When Baker arrived at Coyote Flats, she forgot about the guns immediately. (For legal reasons, I was not allowed to witness the subsequent negotiation, but it was recounted to me later by both parties.) The bar was a big honky-tonk kind of a place, covered in graffiti, with pool tables and a cafe next door. The owner, Dorene Ross, was ready for Baker. Most venue owners, Baker says, are not. Ross, Baker told me, seemed nervous but sweet. She invited Baker to sit down.

    Dorene Ross is 47. For the last three years, she has run Coyote Flats Cafe and Bar with her husband and a brother who works unpaid, just to keep busy. Their clientele runs mostly to “ropers” (rodeo gangs), “snowbirds” and tourists in the summer, driving cross-country. For the past 25 years, in Arizona and Alaska, where she lived until recently, Ross has worked as a bartender and cocktail waitress. Never, she says, did she ever hear anything about anyone paying a single dime for music rights. “I really didn’t know much about it at all. I never even thought about it.”

    Last April 15 — tax day, she noted wryly — she got a letter from BMI. The letter explained how American copyright law works. It also included a worksheet, which encouraged Ross to indicate if she had karaoke machines, radios and televisions in the bar and how often she used them, how often she has live music and what her operation’s capacity is. Ross filled out the worksheet. This much for the TVs. This much for the CD player. This much for the karaoke machine. That much for the radio. She discovered her yearly license would come out to $865.

    Ross said, “My husband was like, ‘Well, we ain’t paying that!’ ” She laughed. “Giving away money wasn’t right at the top of my priority list there.”

    It’s not hard to understand why Ross, a small businesswoman operating in a rural area during a recession, was reluctant to take on another fixed cost. Her insurance runs $400 a month, her electricity $2,000, her mortgage $2,500. Payroll is $2,000 per week, property taxes are $2,500 per year and the liquor license is $585. Add on state and federal taxes and a health-department permit. “It’s making it hard for us little people. I’m barely making it as it is.” At her last liquor-board review, she heard that more than 200 restaurants in Maricopa County didn’t bother to renew their liquor licenses because of the economic downturn. Each month, Ross said, she was lucky to clear $2,000. But given her kidney problems and $600 a month of medication, she said, “I’m like one bill away from folding.”

    She understood why musicians wanted their money, she said, but she didn’t feel too excited about paying her share. Besides, how did anyone know that the songwriters got the money? How did she know this wasn’t some scam?

    When Devon Baker called to make an appointment, Ross was taken aback. She’d expected Baker to yell at her and say: “You’re late! You’ve had the paperwork for two months already!” Instead, Baker seemed pleasant. “If they’d sent some big dude in a trench coat, some mobster type guy,” Ross said, she might have resisted. Instead, here came Baker, all big smile and soft hair. “I wasn’t expecting some cute little gal from Tennessee with a Southern accent.”

    Baker accepted Ross’s invitation and sat down in the booth with Ross and her pug, Frank. Out came the checkbook. “I could tell she was low on money,” Baker told me later. “I could tell it was hard for her to shell out the money. But I also know music helps her make money. Or she wouldn’t have it. She and I knew she was doing the right thing.”

    Ross produced her paperwork. She’d already figured it out. $16 a week. She could handle it, she guessed. “I didn’t want to give her the money. But I knew I had to.”


    John Bowe is a contributing writer for the magazine. His most recent article was on the Octomom. He is the editor of “Us: Americans Talk About Love.”
    Whiskey Sour

    2 oz blended whiskey
    Juice of 1/2 lemon
    1/2 tsp powdered sugar
    1 cherry
    1/2 slice lemon

    Shake blended whiskey, juice of lemon, and powdered sugar with ice and strain into a whiskey sour glass. Decorate with the half-slice of lemon, top with the cherry, and serve.

  13. #403
    Coachella Junkie chairmenmeow47's Avatar
    Join Date
    Jan 2007
    Location
    aquabania
    Posts
    17,396

    Default Re: Articles 2.0

    wow

    http://abcnews.go.com/US/gunman-ente...ry?id=11535128

    A gunman, possibly carrying explosives, has entered the headquarters of the Discovery Channel and fired shots and taken hostages, according to police and witnesses in Silver Spring, Md.

    Maryland police respond to reports of a man with apparent explosive device.Employees at the building were told to take cover in locked offices and police have sent SWAT teams to the area to seal off nearby roads.The FBI and agents from ATF, including explosives experts, also rushed to the building.

    Capt. Paul Starks said the gunman was an Asian man who had what may be an explosive device strapped to his body. Starks said there "may be other potential devices" with the gunman.

    The captain said, "His beef is with Discovery."

    One witness, project manager Ari Fisher said he returned to the building at 1 p.m. following lunch and peered into the lobby before being told to flee from the building.

    Fischer says he saw the gunman holding a security guard at his side with 12 hostages laying on the floor of the lobby.

    "We couldn't see the weapon. We peered in and could make out his silhouette. We saw him holding a security guard at his side. There were other people on the floor, a dozen or so," Fischer told ABCNews.com from locked building across the street.

    Others were trapped inside the suburban headquarters.

    "Friends, I am in work closet with workers here. There is a shooter here at Discovery. I am ok," read a text from one Discovery employee.

    Another employee said the gunman had taken a hostage. "The police are trying to get the situation under control!INSANE!" read the email to ABCNews.

    Some employees were initially sent to higher floors and later evacuated, police said. Witnesses on the scene said another group of employees left the building around 1:44 p.m.

    The drama began when workers in the building got a bulletin from the building's security.

    "We have reason to believe there is an armed gunman at One Discovery Place. All employees should seek protection in a locked office on their respective floors immediately," read an email sent to employees and read over the public address system.

    "There's a guy with a gun in the lobby. Police are swarming in -- assault rifles and all," one producer told ABCNews.com via instant message.

    Police said they received a call at 1 p.m. about a gunman in the lobby possibly carrying explosives.

    The building has a daycare center, which witnesses say has been evacuated.

    "Crazy to see the babies coming out of childcare center piled into rolling cribs into the McD's across the street, a safe zone," said a witness via email.

    The building, which houses the offices of Discovery Channel and its sibling networks including Animal Planet, is located just outside Washington DC.
    his demands
    Quote Originally Posted by malcolmjamalawesome View Post
    It's when we discuss Coachella that we are at our collective dipshittiest.

  14. #404
    Coachella Junkie chairmenmeow47's Avatar
    Join Date
    Jan 2007
    Location
    aquabania
    Posts
    17,396

    Default Re: Articles 2.0

    actually, i'll just post his crazy demands in case the site goes down. INVENT, DAMN YOU!

    The Discovery Channel MUST broadcast to the world their commitment to save the planet and to do the following IMMEDIATELY:

    1. The Discovery Channel and it's affiliate channels MUST have daily television programs at prime time slots based on Daniel Quinn's "My Ishmael" pages 207-212 where solutions to save the planet would be done in the same way as the Industrial Revolution was done, by people building on each other's inventive ideas. Focus must be given on how people can live WITHOUT giving birth to more filthy human children since those new additions continue pollution and are pollution. A game show format contest would be in order. Perhaps also forums of leading scientists who understand and agree with the Malthus-Darwin science and the problem of human overpopulation. Do both. Do all until something WORKS and the natural world starts improving and human civilization building STOPS and is reversed! MAKE IT INTERESTING SO PEOPLE WATCH AND APPLY SOLUTIONS!!!!

    2. All programs on Discovery Health-TLC must stop encouraging the birth of any more parasitic human infants and the false heroics behind those actions. In those programs' places, programs encouraging human sterilization and infertility must be pushed. All former pro-birth programs must now push in the direction of stopping human birth, not encouraging it.

    3. All programs promoting War and the technology behind those must cease. There is no sense in advertising weapons of mass-destruction anymore. Instead, talk about ways to disassemble civilization and concentrate the message in finding SOLUTIONS to solving global military mechanized conflict. Again, solutions solutions instead of just repeating the same old wars with newer weapons. Also, keep out the fraudulent peace movements. They are liars and fakes and had no real intention of ending the wars. ALL OF THEM ARE FAKE! On one hand, they claim they want the wars to end, on the other, they are demanding the human population increase. World War II had 2 Billion humans and after that war, the people decided that tripling the population would assure peace. WTF??? STUPIDITY! MORE HUMANS EQUALS MORE WAR!

    4. Civilization must be exposed for the filth it is. That, and all its disgusting religious-cultural roots and greed. Broadcast this message until the pollution in the planet is reversed and the human population goes down! This is your obligation. If you think it isn't, then get hell off the planet! Breathe Oil! It is the moral obligation of everyone living otherwise what good are they??

    5. Immigration: Programs must be developed to find solutions to stopping ALL immigration pollution and the anchor baby filth that follows that. Find solutions to stopping it. Call for people in the world to develop solutions to stop it completely and permanently. Find solutions FOR these countries so they stop sending their breeding populations to the US and the world to seek jobs and therefore breed more unwanted pollution babies. FIND SOLUTIONS FOR THEM TO STOP THEIR HUMAN GROWTH AND THE EXPORTATION OF THAT DISGUSTING FILTH! (The first world is feeding the population growth of the Third World and those human families are going to where the food is! They must stop procreating new humans looking for nonexistant jobs!)

    6. Find solutions for Global Warming, Automotive pollution, International Trade, factory pollution, and the whole blasted human economy. Find ways so that people don't build more housing pollution which destroys the environment to make way for more human filth! Find solutions so that people stop breeding as well as stopping using Oil in order to REVERSE Global warming and the destruction of the planet!

    7. Develop shows that mention the Malthusian sciences about how food production leads to the overpopulation of the Human race. Talk about Evolution. Talk about Malthus and Darwin until it sinks into the stupid people's brains until they get it!!

    8. Saving the Planet means saving what's left of the non-human Wildlife by decreasing the Human population. That means stopping the human race from breeding any more disgusting human babies! You're the media, you can reach enough people. It's your resposibility because you reach so many minds!!!

    9. Develop shows that will correct and dismantle the dangerous US world economy. Find solutions for their disasterous Ponzi-Casino economy before they take the world to another nuclear war.

    10. Stop all shows glorifying human birthing on all your channels and on TLC. Stop Future Weapons shows or replace the dialogue condemning the people behind these developments so that the shows become exposes rather than advertisements of Arms sales and development!

    11. You're also going to find solutions for unemployment and housing. All these unemployed people makes me think the US is headed toward more war.

    Humans are the most destructive, filthy, pollutive creatures around and are wrecking what's left of the planet with their false morals and breeding culture.

    For every human born, ACRES of wildlife forests must be turned into farmland in order to feed that new addition over the course of 60 to 100 YEARS of that new human's lifespan! THIS IS AT THE EXPENSE OF THE FOREST CREATURES!!!! All human procreation and farming must cease!

    It is the responsiblity of everyone to preserve the planet they live on by not breeding any more children who will continue their filthy practices. Children represent FUTURE catastrophic pollution whereas their parents are current pollution. NO MORE BABIES! Population growth is a real crisis. Even one child born in the US will use 30 to a thousand times more resources than a Third World child. It's like a couple are having 30 babies even though it's just one! If the US goes in this direction maybe other countries will too!

    Also, war must be halted. Not because it's morally wrong, but because of the catastrophic environmental damage modern weapons cause to other creatures. FIND SOLUTIONS JUST LIKE THE BOOK SAYS! Humans are supposed to be inventive. INVENT, DAMN YOU!!

    The world needs TV shows that DEVELOP solutions to the problems that humans are causing, not stupify the people into destroying the world. Not encouraging them to breed more environmentally harmful humans.

    Saving the environment and the remaning species diversity of the planet is now your mindset. Nothing is more important than saving them. The Lions, Tigers, Giraffes, Elephants, Froggies, Turtles, Apes, Raccoons, Beetles, Ants, Sharks, Bears, and, of course, the Squirrels.

    The humans? The planet does not need humans.

    You MUST KNOW the human population is behind all the pollution and problems in the world, and YET you encourage the exact opposite instead of discouraging human growth and procreation. Surely you MUST ALREADY KNOW this!

    I want Discovery Communications to broadcast on their channels to the world their new program lineup and I want proof they are doing so. I want the new shows started by asking the public for inventive solution ideas to save the planet and the remaining wildlife on it.

    These are the demands and sayings of Lee.
    Quote Originally Posted by malcolmjamalawesome View Post
    It's when we discuss Coachella that we are at our collective dipshittiest.

  15. #405
    Coachella Junkie
    Join Date
    Jan 2007
    Posts
    13,133

    Default Re: Articles 2.0

    Makes sense to me.

  16. #406
    thestripe
    Guest

    Default Re: Articles 2.0

    STOP THE HUMAN RACE!!!!!! How bout you start with yourself, guy.

  17. #407
    Coachella Junkie chairmenmeow47's Avatar
    Join Date
    Jan 2007
    Location
    aquabania
    Posts
    17,396

    Default Re: Articles 2.0

    i knew pot was a squirrel lover.
    Quote Originally Posted by malcolmjamalawesome View Post
    It's when we discuss Coachella that we are at our collective dipshittiest.

  18. #408

    Default Re: Articles 2.0

    Do insane people not use spellcheck?

  19. #409
    thestripe
    Guest

    Default Re: Articles 2.0

    Let's meet the demands. I propose a 30 min Shark Week program where trained professionals feed babies & old folks to great white sharks. MAKE IT HAPPEN DISCOVERY.

  20. #410
    LOLocaust Survivor Hannahrain's Avatar
    Join Date
    Feb 2007
    Location
    stately Rain Manor
    Posts
    17,455

    Default Re: Articles 2.0

    "Also, war must be halted" is a nice little sidebar there. Better just tuck that one in. It's not really big enough to stand on its own.

  21. #411
    Coachella Junkie
    Join Date
    Jan 2007
    Posts
    13,133

    Default Re: Articles 2.0

    Typical human baby filth parasite statement right there. Depopulate.

  22. #412
    LOLocaust Survivor Hannahrain's Avatar
    Join Date
    Feb 2007
    Location
    stately Rain Manor
    Posts
    17,455

    Default Re: Articles 2.0

    Also, he's overlooking solutions within his own text. Birthing shows and Futureweapons effectively cancel themselves out through their dual existence within the same set of programming. This guy.

  23. #413
    Coachella Junkie
    Join Date
    Jan 2007
    Posts
    13,133

    Default Re: Articles 2.0

    We should test the brown ray on baby parasites half out of the filth canal.

  24. #414
    LOLocaust Survivor Hannahrain's Avatar
    Join Date
    Feb 2007
    Location
    stately Rain Manor
    Posts
    17,455

    Default Re: Articles 2.0

    http://www.myspace.com/worldguardian

    The movie choices are particularly representative of his cause.

  25. #415
    old school
    Join Date
    Jan 2010
    Posts
    5,394

    Default Re: Articles 2.0

    Im with crazy guy. Every time I hear Captin Phil mentioned I want to eat a babies legs.

  26. #416
    old school
    Join Date
    Jan 2010
    Posts
    5,394

    Default Re: Articles 2.0

    Oh shit! he is Asian! They are all good as dead.

  27. #417
    LOLocaust Survivor Hannahrain's Avatar
    Join Date
    Feb 2007
    Location
    stately Rain Manor
    Posts
    17,455

    Default Re: Articles 2.0


  28. #418
    Coachella Junkie Drinkey McDrinkerstein's Avatar
    Join Date
    Jan 2009
    Location
    DTLA, CA
    Posts
    21,182

    Default Re: Articles 2.0

    This guy is my hero.
    last.fm
    6/15/14 Failure - Glasshouse // 7/9/14 Cloud Nothings/Metz - Roxy
    7/16/14 Planes Mistaken For Stars - Echo // 8/23-24/14 FYF Fest - Expo Park //8/25/14 Nine Inch Nails - Hollywood Bowl // 9/12-14/14 Riotfest - Humboldt Park, Chicago, IL
    9/18/14 Neutral Milk Hotel - Hollywood Bowl

  29. #419
    Coachella Junkie
    Join Date
    Jan 2007
    Posts
    13,133

    Default Re: Articles 2.0

    One of my friends gave me these fucking Ishmael books years ago with a speech about how they had turned his life around and etc.

    He wasn't a very smart guy.

  30. #420
    LOLocaust Survivor Hannahrain's Avatar
    Join Date
    Feb 2007
    Location
    stately Rain Manor
    Posts
    17,455

    Default Re: Articles 2.0

    Allowing a significant life change to spur from a single doctrine without question is a clear mark of cult susceptibility, though, and there's a place for that. I bet you could make him do stuff.

Posting Permissions

  • You may not post new threads
  • You may not post replies
  • You may not post attachments
  • You may not edit your posts
  •