I did tell them, it was really some programming detail so inane that I doubt anyone would remember it until they needed it.

Thank you for getting the Brahms aspect of the joke.

Beethoven as the Scorsese figure who editorializes about whether we really need 104 of those damn things

(yes, I recognize the analogy breaks down)

The coffee would no longer flow.

Haydn was the MCU of the 18th century.

There was a little while in classical music that the industry thrived on sequels, Brahms Symphony 2, for example.

Thus concludes ESPN Presents AMAZING SPORTS BLOOPERS 1992 Edition II.

1) The headphone jack on iPhones and a legacy USB 2.0 jack on all computers.

2) Buy Chipotle and force them to adopt a breakfast menu.

3) Throw Final Cut Pro in the trash and start over.

4) A real Time Machine not just for backing up computers.

It's possible for a concert series to have a license. But yes, the gray market aspect is vast and murky.

Many of them simply don't have licenses, especially in New York City. Everyone knows this and they basically fly in a gray area of legality hoping it doesn't come back to bite them.

Someone hit on it somewhere else in the thread. It's not a sensible way for smaller venues to operate, but it is the logic of why they say "no covers."

Similarly, classical music venues are supposed to have licenses to exist (that's how composers get paid, such as me).

Nowadays, experimental music makes up a tiny percentage of what people listen to. But in the early days of music, 40,000 years back, it was basically all experimental. That was the dominant scene back then, just doing weird vocalisations while someone’s blowing into a vulture bone.

I was just telling @franznicolay.bsky.social: a guitarist that I've never really wanted to emulate in specific style, but unquestionably a monk/master of the instrument and tons of influence in how hard he chased his particular approach.

I got the book, Reaching for the Uncommon Chord right after high school and it really opened my eyes to some stuff

Yeah it's definitely not a "racket", it's a critical but flawed piece of the music industry!

"it's a critical but flawed piece of the music industry!" - evergreen descriptor for near every piece of the music industry these days.

(Two organizations, that is. ASCAP is a non-profit and BMI is a for-profit competitor that emerged later, ~1939.)

ASCAP/BMI is an organization that serves as intermediary between publishers (who own the licensing rights) and venues/places-where-music-is-played.

Agree, I was distinguishing from Live Nation which is more specifically a leech that aids no one.

Two people have asked me about Holdsworth. He is like some Mt. Everest of perfect technique and uncompromisingly strange choices. True guitar hero. youtu.be/BTRO0SxOV4c?...

The only difference in the BMI racket is that money actually does get back to the artists. BMI has paid my rent a lot of years.

Lawyers from ASCAP/BMI occasionally call venues to try to shake them down for annual fees. It's not on the label/artist level.

ASCAP/BMI - if a venue doesn't want to pay the annual licensing fee, they can try to get around it by banning the performance of licensed published songs.

People are so quick to blame tapes. Anything bad happens, it’s the tape’s fault, right? But the thing is, tapes don’t disintegrate. I never heard of that happening before. What if it was the digital recorder that was glitching out and the tapes were just the patsy they pinned it on?

Danny Gatton
Allan Holdsworth
Adrian Belew

Last words he said before opening the Vatican's Ghostbuster vault.

Today I found out a bunch of the students "all just assumed I had a food blog."

Did you know frogs use mushrooms as hammers

Neither did I but apparently a mushroom is also known as a toad's tool

I have never ever understood Ableton. I either want software to be a good recording machine or I want to program. Ableton is this uncanny valley / netherworld between those poles.

And where does that bring us?